The constellation of instructors who participate in the Program is large. Faculty include professors, researchers, curators, and other staff at Williams, the Clark,  WCMA and MASS MoCA, along with the Robert Sterling Clark Visiting Professorship and other visiting appointments.

Marc Gotlieb

Halvorsen Director of the Williams College Graduate Program in the History of Art  Marc Gotlieb received his Ph.D. from Johns Hopkins in 1990. He is the author of The Plight of Emulation: Ernest Meissonier and French Salon Painting and The Deaths of Henri Regnault as well as further essays on French Romantic art, on the image of the artist, and on Orientalist painting. He is also past Editor-in-chief of Art Bulletin, and is currently working on a book centering on “the Orientalist Sublime.” His graduate teaching encompasses nineteenth-century art, art historical methods and approaches, pedagogy in the visual arts, and related concerns. [email protected]

Emmelyn Butterfield-Rosen
Emmelyn Butterfield Rosen

Associate Director of the Graduate Program  Emmelyn Butterfield-Rosen received a B.A. from Columbia University and PhD. from Princeton University, with a certificate in the Program in Media & Modernity. Emmelyn joined GradArt in 2016 as a Post-Doctoral Fellow, and has held fellowships at the Metropolitan Museum of Art, and at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Emmelyn specializes in modern art and cultural history, primarily in Europe. Relations between modern art and modern sciences of the human subject are a guiding preoccupation of her teaching and research. Broad areas of interest include the history of art history and archaeology, the history of art criticism, philosophical and scientific theories of the aesthetic, archaism and primitivisms, interactions between the visual and performing arts, the history of dance and early film, theories of gesture and corporeal expression, and the history of biology, psychology and psychoanalysis, especially with reference to the history of sexuality. Her first book, Human Dispositions: Posture and the Modernization of Figural Art, Europe circa 1900, is forthcoming from University of Chicago Press.   [email protected]

Elizabeth Sandoval

Curatorial Assistant, Williams College Museum of Art and Acting Asst. Director of the Graduate Program, beginning January 2022 Elizabeth M. Sandoval received a B.A. from the University of California, Irvine, an M.A. from Teachers College, Columbia University, and a Ph.D. from The Ohio State University. She specializes in late medieval and early Renaissance manuscripts and paintings from Northern Europe, particularly in artwork made in Flanders, the Netherlands, or for the Burgundian court. She approaches art through the lenses of materiality, visual exegesis, viewer reception, and inter- and intratextuality. Her research interests include the history of the book, the relationship between text and image, medieval image theory, theology, color perception and the history of pigments, and curatorial practices that draw out connections between contemporary viewers and artworks made across wide geographies and chronologies. She is working on a book on the metaphor of the book of the heart in particular fifteenth-century case studies. At WCMA, she co-curated Remixing the Hall: WCMA’s Collection in Perpetual Transition and contributed to SHIFT: New Interpretations of American and European Art and Sweaty Concepts. She has worked and held internships at The Morgan Library, The Hispanic Society of America, the J. Paul Getty Museum, and the Wexner Center for the Arts, as well as having taught French, Spanish, English, and art in K-8 classrooms. She has received research and curatorial fellowships from the National Endowment for the Arts and The Morgan Library.

Marco Antonio Flores

Stanford Fellow in the Director’s Office, Clark Art Institute, and Special Assistant to the Director of the Williams Graduate Program in the History of Art, beginning January 2022 Marco Antonio Flores is a doctoral student at Stanford University where he specializes in modern and contemporary art of the United States and Latin America. His dissertation focuses on the photography and film of Laura Aguilar, and her metamorphoses from flesh to stone. He is also interested in art’s connection to literature and poetry as well as art’s presence in everyday life. In 2019, he curated staring at the sun, a solo exhibition featuring rafa esparza at the Massachusetts Museum of Contemporary Art (MASSMoCA). Flores received a B.A. and M.A. from the University of California, Berkeley and a second M.A. from the Williams Graduate Program in the History of Art. He is a recipient of the Ford Foundation Predoctoral Fellowship.


Cecilia Aldarondo

Assistant Professor of Art, Williams College Cecilia Aldarondo is an award-winning documentary director-producer whose work has been supported by the Sundance Institute, Firelight Media, Field of Vision, IFP, the Jerome Foundation, and many others. Her feature documentary Memories of a Penitent Heart had its World Premiere at the 2016 Tribeca Film Festival and will be broadcast on POV in 2017. She is a 2017 Women at Sundance Fellow and was named by Filmmaker Magazine as one of 2015’s ’25 New Faces of Independent Film.’ ca5​@williams​.edu

Michelle Apotsos

Michelle ApotsosAssociate Professor of Art, Williams College After completing her Peace Corps service in Mali, West Africa, Michelle Apotsos received her M.A. from Tufts University and her Ph.D. from Stanford University where she specialized in the arts and visual cultures of Africa. She is a former Research Associate at the National Museum of African Art, Smithsonian Institution (Washington D.C.) and has contributed to a number of curatorial projects including NMAFA’s Earth Matters: Land as Material and Metaphor in the Arts of Africa and the Cantor Art Center’s Expanding Views of Africa. She is also an active contributor to various academic publications including the Journal of Architectural Education and African Arts. Following extensive fieldwork in Ghana and Mali, she recently published Architecture, Islam, and Identity in West Africa: Lessons from Larabanga, which details contemporary Islamic identity in West Africa as expressed through architectural form. Her teaching and research interests include African and Afro-Islamic architecture, systems of cross-cultural artistic exchange, materiality and medium-based analyses, and the material impacts of globalization on the developing world.  [email protected] 

Esther Bell

Robert and Martha Berman Lipp Senior Curator, Curator of Painting andEsther Bell Sculpture, Clark Art Institute Esther Bell received her Ph.D. from the Institute of Fine Arts, New York University, where she specialized in seventeenth- and eighteenth-century European art. She received her Masters from the Williams Graduate Program in the History of Art. Bell is the co-author of Degas, Impressionism, and the Paris Millinery Trade (2016), and The Brothers Le Nain: Painters of Seventeenth-Century France (2015) as well as a number of essays on eighteenth-century French art. Prior to joining the Clark, she served as Curator in Charge of European Paintings at the Fine Arts Museums of San Francisco and Curator of Paintings, Drawings, and Sculpture at the Cincinnati Art Museum. [email protected]

Mari Rodríguez Binnie

Assistant Professor of Art, Williams College Mari Rodríguez Binnie received herMaria Rodriguez Binnie B.A. from Northwestern University, and her M.A. and Ph.D. from the University of Texas at Austin. She teaches modern and contemporary art with a transnational focus, with particular emphasis on Latin America. Her current research interests include experimental practices of the 1960s and 1970s, and art theory and criticism in postwar Latin America, particularly in Brazil. She is currently working on a book manuscript titled The São Paulo Neo-Avant-Garde: Mass Print Media and the Conceptual Turn in 1970s Brazil. [email protected]

Christopher Bolton

Professor of Comparative and Japanese Literature, Williams College Christopher BoltonChristopher Bolton received his undergraduate degree in Engineering from Harvard and a Ph.D. in Japanese from Stanford. His research and teaching center on modern Japanese literature and visual culture, with a particular focus on Japanese popular media and critical theory. He is the author of Interpreting Anime (2018) and Sublime Voices: Science and Fiction in the Work of Abe Kōbō (2009); the co-editor of Robot Ghosts and Wired Dreams: Japanese Science Fiction from Origins to Anime (2007); and a senior editor for the first ten volumes of the Mechademia series, an annual anthology of academic work on Japanese anime, manga, and the fan arts (2006-2015). Bolton is also exploring visual and digital media as a vehicle for his own criticism: highlights include a virtual art museum inside the multi-user online world of Second Life, an animated film introducing concepts in poststructuralist literary theory, and Repro Japan, a WCMA show on Japanese popular culture he is curating in the summer of 2020. [email protected]

Tom Branchick

Director and Conservator of Paintings, Williamstown Art Conservation Center Tom Branchickand Director, Atlanta Conservation Center After earning a BFA in printmaking from the Cranbrook Academy of Art, Bloomfield Hills, MI (1973), Tom Branchick received his M.A. and Certificate of Advanced Study from the State University College of Oneonta, Cooperstown Graduate Program. He completed an internship at the Williamstown Center where he subsequently joined the staff in 1981. Before coming to Williamstown, he was employed as a museum exhibit specialist for the New York State Museum. Appointed Director of the Center in 1997, Mr. Branchick continues to head the paintings department in Williamstown. He is a member of the American Institute for the Conservation of Historic and Artistic Works. [email protected]

Vic Brooks

Vic BrooksChair, Contemporary Curatorial Workshop Vic Brooks is Senior Curator of Time-based Visual Art at EMPAC / Curtis R. Priem Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute and curates the Calder Foundation’s artist moving image program. Brooks has commissioned and produced new works in the expanded field of visual art, moving image, and performance for institutions, cinemas, festivals, television and radio internationally. Recent productions include Charles Atlas, Rashaun Mitchell and Silas Riener’s Tesseract, Martine Syms’s An Evening with Queen White, Laure Prouvost’s They Are Waiting for You, and Moved by the Motion’s (Wu Tsang, boychild, Josh Johnson, Patrick Belaga, Asma Maroof) Sudden Rise[email protected]

C. Ondine Chavoya

Ondine Chavoya Professor of Art, Williams College C. Ondine Chavoya is a Professor of Art History and Latina/o Studies and teaches courses in contemporary art and visual culture. A specialist in Chicanx art, Chavoya’s writings have appeared in Afterimage, Arftorum, Aztlán: A Journal of Chicano Studies, CR: The New Centennial Review, Performance Research, Wide Angle, and in numerous exhibition catalogues and edited volumes. His curatorial projects have addressed issues of collaboration, experimentation, social justice, and archival practices in contemporary art. Recent exhibitions include Asco: Elite of the Obscure, A Retrospective, 1972-1987 (with Rita Gonzalez), Robert Rauschenberg: Autobiography (with Lisa Dorin), and Axis Mundo: Queer Networks in Chicano L.A. (with David Evans Frantz). Working with Jennifer González, Chon Noriega, and Tere Romo, he is also co-editor of the forthcoming Chicano and Chicana Art: A Critical Anthology (Duke University Press). Chavoya was recently appointed as International Curator to the Comité de Adquisiciones de Arte Contemporáneo at the Museo de Arte de Lima (MALI) in Peru.  [email protected] 

Michael Conforti

Michael ConfortiClark Art Institute Director, Emeritus Michael Conforti received his M.A. and Ph.D. from Harvard University. An expert in sculpture, decorative arts and design as well as the history of museums and collecting, he was Curator of Sculpture and Decorative Arts at the Fine Arts Museums of San Francisco (1977-80) and Chief Curator at the Minneapolis Institute of Arts (1980-94) before coming to the Clark in 1994. His tenure as Director ended on August 31, 2015. Currently he is a trustee of the Amon Carter Museum, MASS MoCA, the American Academy in Rome, and AAM/ICOM (the American Association of Museums’ International Committee on Museums). He is also a membre titulaire of CIHA (the Comité International d’histoire de l’art) and a member of the National Committee for the History of Art. From June 2008 to June 2010, he served as President of the Board of Trustees of the Association of Art Museum Directors (AAMD). [email protected]

Susan Cross

Susan CrossCurator of Visual Arts, MASS MoCA A graduate of the Williams College Graduate Program, Susan Cross was formerly a curator at the Solomon R. Guggenheim Museum where she organized exhibitions around such artists as Daniel Buren, Bruce Nauman, and Pierre Huyghe. Cross also worked with the Young Collectors Council to make acquisitions for the museum’s permanent collection by contemporary artists such as Ricci Albenda, Stephen Dean, Koo Jeong-a, Jonathan Monk, Marjetica Potrc, Robin Rhode, and Alyson Shotz, among others. Cross organized the first museum survey of the artist Spencer Finch and published his first monograph. She is currently working on a commission and catalogue with Simon Starling, and co-editing a book on Sol LeWitt. At Williams she teaches a course on contemporary art writing, treating such issues as the projected image, collaborative art practices, and issues around globalization. She has recently been awarded Emily Hall Tremaine Exhibition Award for a forthcoming project at MASS MoCA. [email protected]

Lisa Dorin

Lisa DorinDeputy Director of Curatorial Affairs, Williams College Museum of Art Dorin graduated from the University of California Santa Cruz with a bachelor’s degree in art history and studio art. She received her master’s degree from Williams in 2000. Prior to WCMA, Dorin was associate curator of contemporary art at the Art Institute of Chicago, where she organized dozens of temporary exhibitions featuring artists such as Pierre Huyghe, Alfredo Jaar, Iñigo Manglano-Ovalle, Danh Vo, and Kara Walker. She has written extensively, including editing Film, Video, and New Media at the Art Institute of Chicago, a publication documenting the AIC’s time-based media collection, and Richard Hawkins: Third Mind (Yale University Press, 2010). She has served as a visiting lecturer and critic at the School of the Art Institute of Chicago (SAIC), Columbia College, Chicago, University of Chicago, and University of Illinois-Chicago. [email protected]

Holly Edwards

Holly EdwardsSenior Lecturer, Williams College Holly Edwards has degrees from Princeton University (B.A.), University of Michigan (M.A. and Certificate of Museum Practice) and Institute of Fine Arts, NYU (Ph.D). Fieldwork in the Indus Valley and a fellowship at the Freer Gallery of Art in Washington, D.C. completed her training. Thus, she brings diverse experiences and interests into the classroom, offering courses that range from mosque architecture to Persian painting and photography. Much of her recent scholarship has taken curatorial form, resulting in catalogues devoted to American Orientalism (Noble Dreams, Wicked Pleasures, Princeton, 2000) and photography’s traffic in pain (Beautiful Suffering, Chicago, 2007). Currently, she is working on the history of Afghan photography. [email protected]

Ezra D. Feldman

Visiting Assistant Professor of English, Williams College Ezra Dan Feldman is a Visiting Assistant Professor of English at Williams College. His book, Habitat of Stones, was selected by Mark Irwin for the Patricia Bibby First Book Award, and is published by Tebot Bach (2017). edf1​@williams​.edu

Caroline Fowler

Caroline FowlerStarr Director of Research and Academic Program, The Clark Art Institute Caroline Fowler received her Ph.D. from Princeton University, and is a specialist in early modern prints and drawings, intellectual history, and global trade networks. She has taught at Johns Hopkins University and Yale University, and held fellowships at the Center for Advanced Study in the Visual Arts, the Getty Research Institute, and the Zentralinstitut für Kunstgeschichte. She is the author of Drawing and the Senses: An Early Modern History (Harvey Miller Series in Baroque Art, 2017). Her forthcoming book, A Paper Renaissance: Papermaking from the Holy Land to the New World (Yale University Press, forthcoming) is a trans-cultural study of how paper revolutionized the artist’s workshop from 1300-1550. Her graduate teaching encompasses courses on aesthetics, the Baroque as a global concept, the philosophy of conservation, the matter and epistemology of drawing, and the history of print cultures from Asia to Europe. [email protected]

Pamela Franks

Class of 1956 Director, Williams College Museum of Art (WCMA) Pamela FranksAfter earning her Ph.D. in the history of art from the University of Texas at Austin, Franks started her career as a postdoctoral curatorial fellow at Yale University Art Gallery (YUAG) and became its first curator of academic affairs in 2004. Throughout her 14-year career at YUAG, she played a central role in shaping and carrying out priorities for teaching, exhibitions, public programs, community engagement, technology, and collaborations with other academic art museums. As the Director of WCMA, she remains passionately committed to the role of the museum in higher education and the inspiration art can bring all audiences. [email protected]

Guy Hedreen

Guy HedreenProfessor of Art, Williams College An expert on the art of ancient Greece, Guy Hedreen’s courses are interdisciplinary, touching on literature, religion, mythology, and society as well as the art of antiquity. He also teaches the history and methodology of art history. He has published two books on Greek art, Silens in Attic Black-Figure Vase-Painting: Myth and Performance (1992), and Capturing Troy: The Narrative Functions of Landscape in Archaic and Early Classical Greek Art (2001). He has also published a number of articles on Dionysiac mythology, ritual, and drama; the Trojan War in Greek art and literature; and the nature of visual narration. He received his B.A. from Pomona College and Ph.D. from Bryn Mawr College. [email protected]

Christine Kelly

Administrative Assistant/Webmaster Christine Kelly received a BFA in Painting from the Cleveland Institute of Art and an MFA in Writing from Bard College. Publishing, exhibiting, and performing under the name Citron Kelly, she is the author of the chapbooks Dopamine Agonist Destiny Forest (Theme Can Print Editions, 2018) and Pudding Time (DoubleCross Press, 2015). Her work also takes the form of painting, textiles, and slapstick PowerPoint presentations. She is a co-founder and editor of the risograph press Resolving Host in collaboration with Spencer Everett and Carmelle Safdie. Her interests were once described as “idiosyncratic beyond qualification” by Anselm Berrigan and included in these interests is the aspiration to provide caring and efficient administrative support to the Graduate Art History Department. [email protected]

Karen Kowitz

Karen KowitzProgram Administrator Karen Kowitz, a proud Midwesterner, is a graduate of Northern Illinois University. She has happily been a part of the Graduate Program staff for more than 35 years, getting to know hundreds of students and many professors in the process. Personal interests include travel, cooking, and making animal acquaintances. Karen’s role in the Graduate Program involves admissions, events planning, arrangements for the international study trip, administrative support for the director, and communication with current students and alumni. [email protected]

Elliot Krasnopoler

Elliot KrasnopolerAlumni Relations and 50th Anniversary Coordinator Elliot Krasnopoler received his M.A. from Williams, and is a Ph.D. candidate in the History of Art at Bryn Mawr College. He works on the relationships between contemporary art, landscape, and time. Elliot currently works as the Alumni Coordinator for the GradArt program. He sends out news, coordinates alumni programs, and is part of the team planning the 50th anniversary reunion in 2022. [email protected]

Anne Leonard

Anne LeonardManton Curator of Prints, Drawings, and Photographs, Clark Art Institute Before coming to the Clark, Anne was senior curator of European art and director of publications and research at the Smart Museum of Art and lecturer in art history at the University of Chicago. She received her PhD from Harvard University with a focus on nineteenth-century European art. Her exhibitions have covered topics including French and Japanese color prints, Western American survey photographs, and the nineteenth-century printmaker Félix Buhot. She has also published in The Art Bulletin, Print Quarterly, Nineteenth-Century French Studies, and several edited volumes. She is co-editor of The Routledge Companion to Music and Visual Culture (2014) and of a book series on the same topic, also with Routledge. [email protected]

Michael Lewis

Michael LewisFaison-Pierson-Stoddard Professor of Art History, Williams College Michael J. Lewis has taught American art and architecture at Williams College since 1993.  He received his B.A. from Haverford College in 1980, and after two years at the University of Hannover Germany, he received his Ph.D. from the University of Pennsylvania in 1989. He has taught at Bryn Mawr College; McGill University, Montreal; and the University of Natal, South Africa.  His books include Frank Furness: Architecture and the Violent Mind (2001), The Gothic Revival (2002), and American Art and Architecture (2006). In 1995 he received the Society of Architectural Historians’ Alice Davis Hitchcock award for his book August Reichensperger: The Politics of the German Gothic Revival, which was based on his dissertation. Among his research interests are architectural theory; utopian and communal societies; the meaning of monuments; and the problem of creativity and collaboration. He is currently writing City of Refuge: the Other Utopia under the auspices of a Guggenheim Fellowship. A critic of architecture, he writes for a wide variety of publications. Lewis was named Faison-Pierson-Stoddard Professor of Art in 2008. [email protected]

Peter Low

Peter LowProfessor of Art, Williams College Peter Low received his B.A. from the University of Toronto, his M.A. and Ph.D. from the Johns Hopkins University, and his L.M.S. from the Pontifical Institute of Mediaeval Studies. Low’s courses at Williams have covered art and architecture from the Early Christian to Late Medieval periods, and have addressed themes such as “Picturing God in the Middle Ages,” “Romanesque and Gothic Art and Architecture: the Medieval Church in Context,” “East Meets West in the Art of the European Middle Ages,” and “Representing Joan of Arc.” His research interests have centered on Romanesque portal sculpture considered within its original physical, functional, and ritual contexts, with special attention paid to the relationship at monastic sites of art, pilgrimage, and liturgy. The larger aims of his research have been to understand the role played by medieval religious art in general in activating communal worshipboth lay and monastic—within a church setting. Low has published in Jewish Art, Art Bulletin, and Word & Image, amongst other journals, and is currently writing a book entitled Building a Dwelling Place for God: the Narthex Portals at Vézelay and Ephesians 2:11-22 in Medieval Art. [email protected]

Elizabeth McGowan

Elizabeth McGowanChair of the Art Department and Professor of Art, Williams College Liz McGowan received a B.A. from Princeton University and a Ph.D. from the Institute of Fine Arts. At Williams she has taught courses on ancient Greek art and architecture, from the Bronze Age through the end of the Hellenistic period. Her classes include “Greek Art and Myth,” the iconography of deities and heroes in ancient Greece, and “Body of Evidence,” a survey of sculpture that considers changing concepts of the body in ancient Greece from the Neolithic through the Hellenistic periods. She has taught seminars on Hellenistic sculpture, on sanctuaries, on ancient funerary art, and on monuments and memorials over time. She has published studies on Greek funerary monuments and on the architectural orders. Her current projects include the origins of architectural motifs and sculptural decoration in Archaic Greece, and a study on Greek funerary monuments, memory, and cognition. [email protected]

Olivier Meslay

Felda and Dena Hardymon Director of the Clark Art Institute Since Oliver MeslayAugust of 2016, Olivier Meslay has been the director of the Clark Art Institute.  Prior to joining the Williamstown community, he spent eight years at the Dallas Museum of Art (DMA) most recently serving as Interim Director of the Dallas Museum of Art, Associate Director of Curatorial Affairs, Senior Curator of European and American Art, and The Barbara Thomas Lemmon Curator of European Art. Prior to joining the DMA staff in 2009, Meslay established his reputation as a noted scholar and curator during a distinguished seventeen-year career at the Musée du Louvre, from 1993―2009 where he served as curator in charge of British, Spanish, and American Art in the Paintings department. He is the author of the recent publication From Chanel to Reves: La Pausa and Its Collections at the Dallas Museum of Art (2015).  Meslay has also published extensively on British Art and France. In 2013, he published the Catalogue of the British, Spanish, Germanic, Scandinavian and various paintings of the Louvre Museum.

Kathleen Morris

Kathleen Morris Director of Exhibitions and Collections and Curator of Decorative Arts, Clark Art Institute Kathleen Morris is the Clark’s Director of Exhibitions and Collections and Curator of Decorative Arts. Prior to joining the Clark staff, she was Associate Director for Exhibitions and Collections Management, and Curator of European Sculpture, Decorative Arts, and Prints at the Virginia Museum of Fine Arts. She received her Ph.D. from the University of Virginia in 2005. Her dissertation dealt with contemporary sources on the life and art of Gian Lorenzo Bernini. In 2004, she was project co-curator with VMFA Director Michael Brand on Van Gogh and Gauguin: An Artistic Dialogue in the South of France at the VMFA. Morris contributed several catalogue entries to Bonjour, Monsieur Courbet!: The Bruyas Collection from the Musée Fabre, Montpellier. [email protected]

Murad Khan Mumtaz

Assistant Professor of Art, Williams College Murad Khan MumtazMurad received his BFA from the National College of Arts in  Lahore, Pakistan. He completed his MFA in visual art at Columbia University and his PhD in art history from the University of Virginia. Murad examines historical intersections of art, literature and religious expression in South Asia. His primary research focuses on devotional portraiture with a special interest in representations of Muslim saints in early modern India. His work has been aided by fellowships from the American Institute of Indian Studies, the American Institute of Pakistan Studies, the CLIR-Mellon Program and the Metropolitan Museum of Art. Before joining Williams College, Murad was a History of Art Fellow at the Smithsonian Institution’s Sackler Gallery of Art in Washington, D.C. [email protected]

Kevin Murphy

Kevin MurphyEugénie Prendergast Senior Curator of American and European Art, Williams College Museum of Art Kevin Murphy earned his Ph.D. in art history from the University of California, Santa Barbara. His recent exhibitions and publications include: Dance We Must: Treasures from Jacob’s Pillow 1906-1940 (2018), “Not Theories But Revelations” The Art and Science of Abbott Handerson Thayer (2016), and American Encounters: Anglo-American Portraiture in an Era of Revolution (2014). His current project addresses the visual culture of the car accident in the United States. Murphy also regularly teaches Acquiring Art: Selecting and Purchasing Art for WCMA (with Stephen Sheppard in Economics) and Uncovering Williams (with Dorothy Wang in American Studies). Prior to joining Williams, he served as a curator and program manager at the Crystal Bridges Museum of American Art in Bentonville, Arkansas and as associate curator of American art at the Huntington Library in San Marino, California.  [email protected]

Christopher Nugent

Christopher NugentAssociate Professor of Chinese, Williams College Christopher Nugent received a B.A. in Religious Studies from Brown University and his Ph.D. in Chinese Literature from Harvard. His research focuses on the literary culture of Tang dynasty China (7th through 10th century) and he teaches a wide range of courses on Chinese literature, language, and culture at Williams. His 2010 book, Manifest in Words, Written on Paper: Producing and Circulating Poetry in Tang Dynasty China won the Association for Asian Studies Joseph Levenson Book prize for best book on China, pre-1900 category in 2012. His publications include articles in T’oung Pao and Asia Major and he currently serves as editor of the journal Tang Studies. Nugent has received grants from the Chiang Ching-kuo Foundation for International Scholarly Exchange and from the Luce Foundation/ACLS Program in Chinese Studies for his current research, which looks at the ways scholars in medieval China organized, learned, and used the literary inheritance. [email protected]

Katarzyna Pieprzak

Katarzyna PieprzakChair and Professor of Francophone Literature, French Language, and Comparative Literature, Williams College Katarzyna Pieprzak specializes in museum studies and contemporary North African art and literature.  Her book, Imagined Museums: Art and Modernity in Post-Colonial Morocco (Minnesota, 2010) explored the history and politics of art museums in Morocco.  She co-edited a special issue of the African Art History journal Critical Interventions on Africanity in North African cultural production, and has also written extensively on the Moroccan artist Hassan Darsi. She is currently working on a book-length project on the question of aesthetics and the bidonville [shanty-town] in North Africa and France. [email protected]

Stefanie Solum

Stefanie SolumProfessor of Art, Williams College Stefanie Solum received the M.A. and Ph.D. from Berkeley, joining the Williams College faculty in 2001. Her courses range from geographically based surveys of the period to specialized courses on such topics as the domestic visual culture of the Italian Renaissance, and Michelangelo and the myth of the Renaissance artist. She also teaches courses in Women’s and Gender Studies and serves on the Advisory Committee for that program. Solum’s recent work explores issues of women’s patronage and power in fifteenth-century Florence, was supported by the Fulbright Program and the American Council of Learned Societies and has been published in the Art Bulletin. Her new book, Women, Patronage, and Salvation in Renaissance Florence: Lucrezia Tornabuoni and the Chapel of the Medici Palace (Ashgate, 2015)  provides a new model for understanding women’s contributions to the visual arts in Renaissance Florence, based on contemplative spirituality. Solum’s most recent project explores the intersection between Christian piety and innovation Renaissance art. [email protected]

Robert Wiesenberger

Associate Curator of Contemporary Projects, The Robert WiesenbergerClark Art Institute Robert Wiesenberger is a curator and historian of modern and contemporary art, design, and architecture. His current research centers on the animal in contemporary art. Before moving to the Berkshires he was, from 2013–18, Critic at the Yale School of Art, teaching in the MFA program in graphic design. From 2014–16, he was Stefan Engelhorn Curatorial Fellow at the Harvard Art Museums, where he was responsible for the museums’ Bauhaus collections. He is coauthor of Muriel Cooper (MIT Press, 2017), and is a contributing editor to Art Papers. He holds a B.A. in history and Germanic studies from the University of Chicago and a Ph.D. in art history from Columbia University.  [email protected]

Alena Williams

Assistant Professor of Art, Williams College Alena Williams received her Ph.D. in the Department of Art History and Archaeology at Columbia University. She teaches courses in modern and contemporary art history and theory; film and media studies; and the environmental humanities. A curator and writer on modern and contemporary art, her research focuses on the epistemology of the image in art, film, and media with a long-range view across the twentieth century. Williams has contributed to publications of The Studio Museum in Harlem; the Berlin Biennale for Contemporary Art/KW Institute of Contemporary Art; The Menil Foundation/Museum of Contemporary Art San Diego; Guggenheim Museum/Daniel Langlois Foundation for Art, Science and Technology; the Jewish Museum Berlin; and the Bauhaus-Archiv/Museum für Gestaltung Berlin. She was a Visiting Scholar at the Max Planck Institute for the History of Science in Berlin (2017); a DAAD Fellow at the Institute for the History and Theory of Design at the Universität der Künste Berlin (2018); and a Society Fellow of the Cornell Society for the Humanities (2019-2020). [email protected]

Caitlin Woolsey

Caitlin WoolseyManton Postdoctoral Fellow, Research and Academic Program, Clark Art Institute Caitlin Woolsey received her Ph.D. from Yale University, and specializes in the historical confluence of collage, performance, and media in the twentieth century. Her research and teaching are informed by her background in continental philosophy and literary theory, and she has taught at Yale and Wesleyan University. She recently co-curated an exhibition on experimental poetry and the avant-garde at the Beinecke Rare Book and Manuscript Library. Currently she is preparing a book manuscript titled Sensibilia: Sounding the Acoustic Image in Postwar France that examines how the integration of sound transformed intermedia artistic practices in the decades following the Second World War. [email protected]

Emeritus Faculty

Zirka Filipczak

Zirka FilipczakJ. Kirk T. Varnedoe ’67 Professor of Art, Emerita, Williams College After undergraduate studies at Barnard, Zirka Filipczak did all her graduate work at Harvard. An expert on Flemish and Dutch art of the seventeenth century, her thematic research and teaching interests cover a wider chronological scope, and include the gendered roles given to men and women (the exhibition Hot Dry Men, Cold Wet Women); working methods of artists (articles about Leonardo, Vermeer, Dutch tonal still-lifes); the significance of poses and gestures (articles about Leonardo, Rembrandt, Rubens, portraits of unconventional women); art about art (Picturing Art and Artists in Antwerp: 1550-1700); and images depicting miracles and “miracle-working” sculptures of the Madonna (articles about both themes). Her current research project is on the relationship of altarpieces by Rubens and the cult of “miracle-working” Madonnas. [email protected]

Charles W. (Mark) Haxthausen

Mark HaxthausenRobert Sterling Clark Professor of Art History, Emeritus, Williams College Mark Haxthausen received his B.A. degree from the University of St. Thomas (Houston) and his M.A. and Ph.D. degrees from Columbia University. After teaching at Indiana University, Harvard University (where he was also curator of the Busch-Reisinger Museum), and the University of Minnesota, he joined the Williams faculty in 1993, serving as director of the Graduate Program until 2007. His teaching focuses on European modern and contemporary art and on art-historical method. He is editor of The Two Art Histories: The Museum and the University (2002) and co-editor of Berlin: Culture and Metropolis (1990). Current research interests include: the theory and criticism of Carl Einstein; the Bauhaus; Ernst Ludwig Kirchner; Paul Klee; Sigmar Polke; and Fritz Lang’s Metropolis. [email protected]

Michael Holly

Michael HollyStarr Director of Research and Academic Program, Emerita, Clark Art Institute Michael Holly teaches critical theory, methodology, and historiography in art history. She was co-founder and chair of the Visual and Cultural Studies Program at the University of Rochester. She is the author and editor of studies on the historiography of and theory in art history, including Panofsky and the Foundations of Art History (1984), Visual Culture: Images and Interpretations (1994), Past Looking: Historical Imagination and the Rhetoric of Images (1996), The Subjects of Art History: Historical Objects in Contemporary Perspective (1998), and Art History, Aesthetics, and Visual Studies (2002) She is the recipient of a range of fellowships, including a Guggenheim, a Getty, and grants from CASVA, the ACLS, the NEH, the Rockefeller Foundation, and the Mellon Foundation. Her most recent book project on the history of art as a melancholy discipline, The Melancholy Art was published in 2013 by Princeton University Press. [email protected]

Ju-Yu Scarlett Jang

Scarlett JangProfessor of Art, Williams College Scarlett Jang received a B.A. from Cheng-chih University, Taipei, Taiwan, and her M.A. and Ph.D. from the University of California, Berkeley. At Williams she has taught a survey of Asian Art as well as specialized classes, including “Images and Anti-images: Zen Art in China and Japan” and “In Pursuit of Clouds and Mists: Chinese Landscape Painting.” She has recently finished a book manuscript Art, Politics, and Palace Eunuchs in Ming China (1368-1644). She also investigates the chastity cult, courtesan culture, and illustrated erotic novellas in late Ming China. She is the author of “The Eunuch Agency Silijian and the Imperial Publishing Enterprise in Ming China” (2008); “Form, Content, and Audience: A Common Theme in Painting and Woodblock-printed Books of the Ming Dynasty” (1997); and “Realm of the Immortals: Paintings Decorating the Jade Hall of the Northern Sung” (1993). [email protected]

E.J. Johnson

E.J. JohnsonAmos Lawrence Professor of Art, Emeritus, Williams College E.J. Johnson specializes in the architecture of the Italian Renaissance and the twentieth century. A graduate of Williams, he received his Ph.D. from the Institute of Fine Arts, where he studied with Richard Krautheimer and Wolfgang Lotz. Publications include Sant’Andrea in Mantua, The Building History (1975); Charles Moore, Buildings and Projects, 1949-1986 (1986); Memphis: An Architectural Guide (with Robert Russel, 1990); Style Follows Function: Architecture of Marcus T. Reynolds (1993); Drawn from the Source: The Travel Sketches of Louis I. Kahn (with Michael J. Lewis, 1996). Recent work has centered on sixteenth-century Venice, with essays in the JSAH, Renaissance Quarterly, Shakespeare Studies, and the Art Bulletin. Current projects include a study of the architecture of theaters in Italy and a textbook on world architecture. [email protected]

Carol Ockman

Robert Sterling Clark Professor of Art, Emerita, Williams College Carol Ockman is the author of Ingres’s Eroticized Bodies: Retracing the Serpentine Line (1995) and Sarah Bernhardt: The Art of High Drama (2005), an award-winning catalogue and exhibition she and Kenneth E. Silver authored and curated for the Jewish Museum (New York, 2005-06). Ockman has written extensively on French art of the late-eighteenth and nineteenth centuries and contemporary art and culture, including subjects such as the nude, portraiture, stereotypes, and Barbie. Her memoir, Sarah Bernhardt’s Handkerchief (in progress), which she wrote and performed as a one-woman show, weaves together close encounters with stardom, her father’s suicide, and the power of objects. Ockman is Curator at Large for Marie Selby Botanical Gardens (Sarasota, FL). One of the top collections in the world for bromeliads and epiphytes, especially orchids, it puts major works of art in dialogue with living plants. Roy Lichtenstein: Monet’s Garden Goes Pop! (February-June 2021) will join the roster of exhibitions she has curated to date on Chagall, Warhol, Gauguin, and Dalí. Since 2016 Ockman has been touring with dancer/choreographer Netta Yerushalmy and other dancers and writers in Paramodernities, a six-part piece that queries iconic dances from Nijinsky to Cunningham. Ockman continues to write creative non-fiction and to explore performance opportunities. [email protected]