Grad Art

Who We Are

The Program’s uncommonly wide range of instructors nurtures a rich and diverse intellectual climate encompassing wide disciplinary approaches to the history of art.

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

Director of the Graduate Program and Class of 1955 Memorial Professor of Art, Williams College 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]

Michelle Apotsos

ma11Assistant 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 and 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 her 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]

Tom Branchick

Director and Conservator of Paintings, Williamstown Art Conservation Center Tom_Branchik-newand 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]

Victoria Brooks

mail.googleChair, Contemporary Curatorial Workshop Victoria Brooks is curator of time-based visual arts at Experimental Media and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute in Troy, NY. Her 2016 commissions and co-productions include new works by Charles Atlas, Rashaun Mitchell and Silas Riener, Hannah Rickards, Karthik Pandian and Andros Zins-Browne, Tarek Atoui, Patricia L. Boyd, and Martine Syms. Brooks is currently also producing four moving-image works for the Calder Foundation, New York with Ephraim Asili, Charles Atlas, Rosa Barba, and Lucy Raven. [email protected]

Emmelyn Butterfield-Rosen
emmelyn-edit-cropped

Graduate Program Post-Doctoral Research and Teaching Fellow (2016-2019) Emmelyn Butterfield-Rosen received a B.A. from Columbia University and PhD. from Princeton University in 2015. Most recently, her research has been supported by a fellowship in the Department of European Paintings at the Metropolitan Museum of Art in New York, and previously, by a three-year David E. Finley predoctoral fellowship from the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. She specializes in 19th- and early-20-century European art, and has also published occasional essays and criticism on modern and contemporary art. Her current research and teaching interests include the history of art history and archaeology, the reception of antiquity in the modern era, artistic pedagogy and academies, the impact of art criticism and journalism on artistic practice in the 19th century, interactions between the visual and performing arts, early film, and psychology and psychoanalysis. She is currently at work on a book manuscript titled The Disposition of Persons: Posture and the Modernization of Figural Art in Turn-of-the-Century Europe.  [email protected]

Lauren Cannady

Assistant Director of Research and Academic Program and Manton Research Fellow, Clark Art Institute Lauren Cannady received her PhD from the Institute of Fine Arts, New York University, where she specialized in early modern European art and architecture. Previously, she held fellowships from the Metropolitan Museum of Art, the Deutsches Forum für Kunstgeschichte in Paris, and the Columbia/NYU Consortium for Intellectual and Cultural History. Her research interests include landscape architecture, the history of science, and, more broadly, the history of ideas in the early modern period. She has published on eighteenth-century aesthetic philosophy and systems of the decorative and is preparing a book manuscript titled Natural Seduction: Thinking through the Early Modern French Garden[email protected]

C. Ondine Chavoya

Ondine Chavoya Professor of Art, Williams College Ondine Chavoya is professor of art history and Latina/o studies. His current project is an anthology of Chicana art theory focusing on the four-member Los Angeles-based group, Asco. After earning his B.A. from the University of California at Santa Cruz, Chavoya received his Ph.D. at the University of Rochester in New York.  [email protected] 

Jay Clarke

Jay ClarkManton Curator of Prints, Drawings, and Photographs, Clark Art Institute Jay A. Clarke received her Ph.D. from Brown University in 1999 and served as a curator at the Art Institute of Chicago from 1997 through 2009. Her publications include Becoming Edvard Munch: Influence, Anxiety, and Myth (2009) and articles on the critical reception of Käthe Kollwitz and Max Beckmann, Julius Meier-Graefe as an art dealer, Munch’s use of repetition, and Munch’s reputation in Germany, among others. She was editor of Tradition, Innovation, and Nostalgia: The Manton Collection of British Art (2012), The Impressionist Line from Degas to Toulouse-Lautrec (2013), and co-editor of The Spiritual Landscapes of Adrienne Farb, 1980-2006 (2006). Clarke taught graduate seminars at the School of the Art Institute of Chicago from 2001 through 2008. [email protected]

Sonnet Coggins

Sonnet CogginsAssociate Director for Academic and Public Engagement, Williams College Museum of Art Sonnet Coggins holds an MA in Teaching and an MA in French Language and Literatures, both from the University of Virginia.  Her research focused on interpretation at museums, historic sites, and memorials related to the Second World War in France. At WCMA, Sonnet develops interpretive approaches, exhibitions and programs to deepen and broaden student and faculty engagement with the museum and its collection. Prior to assuming this position, she was both Head of Adult & College Programs, and Master Teacher for Modern and Contemporary Art at the Denver Art Museum, a role that blended curatorial and interpretive practice in exhibition making and program development.  [email protected]

Michael Conforti

Michael ConfortiFormer Director, Clark Art Institute 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]

Nicole Desrosiers

Nicole DesrosiersLecturer in Romance Languages, Williams College Nicole Desrosiers teaches Intensive French Grammar and Translation (Fall) and Readings in French Art History and Criticism (Spring). She received an MA in English Literature from the University of Clermont-Ferrand, and an MA and a PhD in French Literature and Language from the University of Massachusetts, concentrating in the sixteenth and seventeenth centuries. She has taught at Trinity College in Hartford and at Bennington College. Nicole is interested in translation, semantics and the pedagogy of language where culture, literature and art intersect. She is presently concentrating her efforts in writing the textbooks for her courses. [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]

Nina Dubin

Robert Sterling Clark Visiting Professor of Art History, Spring ’18 Nina Dubin is Associate Professor of Art History 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 and 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. A specialist in European art since 1700, she is currently writing a book on love letter pictures in eighteenth-century France. [email protected]

Samuel Y. Edgerton, Jr.

Sam EdgertonAmos Lawrence Professor of Art History Emeritus, Williams College Samuel Y. Edgerton is Amos Lawrence Professor of Art History Emeritus at Williams College where he taught for twenty-seven years. Before that Edgerton taught at Boston University for sixteen years. During those four plus decades his scholarly interests have ranged from studying the arts of medieval and Renaissance Europe to the arts of pre- and post-conquest America. Among his many publications are The Heritage of Giotto’s Geometry: Art and Science on the Eve of the Scientific Revolution (1991) and The Mirror, the Window, and the Telescope: How Renaissance Linear Perspective Changed our Vision of the Universe (2009).

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]

George Ferger

George FergerSecretary George Ferger received his M.A. degree in English from the University of Wisconsin, Madison, in 1968. After serving in the Peace Corps in Malawi, Central Africa, he settled in Montreal and studied at McGill University, then taught English Literature and Humanities for 25 years at Vanier College in Montreal. His interests vary widely (perhaps too widely) from natural history to horticulture, from art history to world literature.  He has written poems and published a few.  A long essay, “Who’s Who in the Sublimelight: ‘Suave John Ray’ and Lolita‘s ‘Secret Points’,” appeared in Nabokov Studies 8 (2004). In the Graduate Program, his main duties are in the areas of communications facilitation, scheduling, website management, and admissions. [email protected]

Zirka Filipczak

Zirka FilipczakJ. Kirk T. Varnedoe ’67 Professor of Art, 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]

Catherine Girard

Visiting Assistant Professor of Art History, Williams College Catherine Girard specializes in eighteenth-century European visual culture, with a focus on French rococo art, hunting, the body, sexuality, violence, and encounters with the “Other,” both human and animal. Her book manuscript, Rococo Massacres, is a critical examination of paintings with hunting subjects made at the end of the ancien régime. Her next project attends to representations of the French Atlantic slave trade in eighteenth-century interiors, examining how invisible violence, identity anxieties, and difficult-to-represent practices can enter the visual realm. She is a Visiting Assistant Professor of Art at Williams College, where she offers a seminar on Native North American arts. She holds a PhD from Harvard University and has received a number of awards and scholarships, including a Kress institutional fellowship at INHA, a Mellon postdoctoral fellow at Columbia University, and Canada’s Governor General’s Academic Gold Medal for her Master thesis on representations of Jewish actress Rachel. [email protected]

Brynn Hatton

Brynn Hatton headshotVisiting Assistant Professor of Art History, Williams College Brynn Hatton received her B.A. from the University of California, Berkeley, and her M.A. and Ph.D. from Northwestern University. She specializes in art and visual culture of the 20th and 21st centuries, with an emphasis on the artistic and intellectual histories of contemporary global social movements and political activism. She was an international research fellow at the Social Science Research Council (2014-15), and her teaching and research are both rigorously interdisciplinary, incorporating thought from social movement mobilization theory, critical race theory, urban studies, transnational and postcolonial literatures. She is a contributing author to the forthcoming volume Imprints of Revolution: Visual Representations of Resistance (Rowman & Littlefield, 2016). In addition, she writes criticism for Artforum and MCA DNA, and has contributed to major curatorial projects, including the award-winning The City Lost and Found: Capturing New York, Chicago, and Los Angeles, 1960–1980 at the Art Institute of Chicago (2014-2015). [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]

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]

Christopher Heuer

s200_christopher.p._heuerVisiting Lecturer, Clark Art Institute Christopher P. Heuer holds a PhD from the University of California, Berkeley. An expert in early modern art and theory, he comes to Williams after teaching at Princeton University (2007-2014) and Columbia University (2005-7). He is the author of The City Rehearsed: Object, Architecture and Print in the Worlds of Hans Vredeman de Vries, and co-editor of Vision and Communism. In addition to his two terms as a Fellow at the Clark, Heuer was Henkel-Stiftung Fellow at the Humboldt Universität, Berlin in 2009; Junior Fellow at the Centre Canadien d’Architecture, Montréal in 2006; and Kress Fellow at the Kunsthistorisch Instituut, Leiden between 2000-2. In 2014-15 he was appointed a Senior Fellow at the Center for Advanced Study in the Visual Arts in Washington, DC. Heuer’s publications include writings in Res, Art History, Artforum, Renaissance Quarterly, October, The Burlington Magazine, The Oxford Art Journal, Word and Image, and elsewhere. He served as the Northern European book review editor for caa.reviews (College Art Association) between 2010 and 2015. He is completing a book about the Renaissance Arctic, entitled Into the White[email protected]

Michael Holly

Michael HollyFormer Starr Director of Research and Academic Program, 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, 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]

Elizabeth Kieffer

ekiefferLecturer in German, Williams College Elizabeth Kieffer teaches German Reading for Art History. She is a translator, whose recent translations include contributions to Sol LeWitt: 100 Views, edited by Susan M. Cross and Denise Markonish. Kieffer also serves as a researcher for ARTstor. She received her B.A. from Douglass College of Rutgers University, with further study at the University of Tübingen. [email protected]

Karen Kowitz

Karen KowitzProgram Administrator Karen Kowitz, a proud Midwesterner, graduated from Northern Illinois University in 1980. She has happily been a part of the Graduate Program staff for more than 30 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]du

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 LowChair of the Art Department and Professor 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

emcgowanProfessor 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 August 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]

Kevin Murphy

Kevin MurphyCurator of American Art, Williams College Museum of Art Kevin Murphy holds a B.A. from Pitzer College of The Claremont Colleges in California and an M.A. from the University of Massachusetts, Amherst. He earned a Ph.D. in art history from the University of California, Santa Barbara. Murphy was most recently a curator and program manager at Crystal Bridges Museum of American Art in Bentonville, Arkansas. Previously, he served as associate curator of American art at the Huntington Library in San Marino, California. Murphy has taught art history at the University of California, Santa Barbara, the University of California, Los Angeles, and San Diego Mesa College. He is the recipient of several fellowships and grants, including the Terra Foundation for American Art award and the Henry Luce Foundation Dissertation Research Grant. He is lead curator of the exhibition, American Encounters: Anglo-American Portraiture in an Age of Revolution, working in collaboration with the Musée du Louvre, Paris, the Terra Foundation for American Art, and the High Museum in Atlanta, Georgia. Murphy will author the main catalogue essay for this exhibition’s catalogue, as well as an essay on Gilbert Stuart’s George Washington, as part of the 2014 American Encounters series. [email protected]

Christopher Nugent

cnugentAssociate 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]

Carol Ockman

Carol OckmanDennis Meenan ’54 Third Century Professor of Art, 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), a catalogue, co-authored with Kenneth E. Silver, of the major multimedia exhibition they curated at the Jewish Museum in New York in 2005-06. Ockman is also the author of studies on French art of the late-eighteenth and nineteenth centuries, as well as contemporary art and culture, including such subjects as the nude, portraiture, stereotypes, and Barbie. Ockman also has a long held interest in live performance. She has been a resident at the Bellagio Center (Lake Como, Italy) and in New York, where she worked on two projects: Sarah Bernhardt’s Handkerchief, a book about a handkerchief passed on to great actresses of the American theatre (Helen Hayes, Julie Harris, Susan Strasberg, and Cherry Jones), and “The Invention of the Modern Nude,” an essay about how the nude came to mean the female nude under the Napoleonic Empire. [email protected]

Paul Park

Paul ParkLecturer in English, Williams College Paul earned his B.A. in Creative Writing at Hampshire College in 1975, and has an extensive list of publishing credits that includes poems, short stories, and novels.  A number of his works have been short-listed for such prizes as the Nebula Award, the World Fantasy Award, and the Arthur C. Clarke Award. In addition to teaching the Graduate Program’s expository writing class, Paul has taught a variety of literature and writing courses at Williams and at other venues across the country, and has participated in numerous literary conventions and conferences, often as a guest of honor. [email protected]

Katarzyna Pieprzak

unnamedChair 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]

Kailani Polzak

kpolzak crop edit 1C3 Mellon Postdoctoral Fellow and Assistant Professor in Art History Kailani Polzak received a B.A. from the University of California, Santa Cruz and a Ph.D. from the University of California, Berkeley. She specializes in European visual culture of the eighteenth and nineteenth centuries and is particularly interested in the pictorial politics of race and colonialism in Oceania. To complement her research and writing in the United States, she has conducted research abroad in France, Germany, England, Aotearoa – New Zealand, and Australia with the support of fellowships from the Social Science Research Council and the Georges Lurcy Foundation. She is currently preparing a book manuscript entitled, Inscribed Distances: Picturing Human Difference and Scientific Discovery Between Europe and Oceania regarding English, French, and Russian exploratory voyages in the Pacific and the pictorialization of race in the eighteenth and nineteenth centuries. Her interests extend well past the subject of this manuscript and she has taught courses on the Spanish artist Francisco de Goya, French painting in the nineteenth century, and methods in the history of art. [email protected]

Mary Roberts

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Clark Visiting Professor 2015-2017 and Professor of Art History and Nineteenth-Century Studies at the University of Sydney Roberts is a scholar of late Ottoman art and European Orientalism who has written extensively about patterns of transcultural exchange in the nineteenth century. Her most recent book, Istanbul Exchanges: Ottomans, Orientalists and Nineteenth-Century Visual Culture, received the 2016 Best Book prize from the Art Association of Australia and New Zealand. At the Clark she is working on her next book on artists as collectors of Islamic art in the nineteenth century. Other publications include: Intimate Outsiders: The Harem in Ottoman and Orientalist Art and Travel Literature (Duke, 2007) and four co-edited books: The Poetics and Politics of Place: Ottoman Istanbul and British Orientalism (Pera Museum and University of Washington Press, 2011) Edges of Empire: Orientalism and Visual Culture (Blackwells, 2005), Orientalism’s Interlocutors, (Duke, 2002) and Refracting Vision: Essays on the Writings of Michael Fried (Power Publications, 2000/2012). [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]