Turning Point:
Case Western Reserve University
Department of Art History

Graduate Student Newsletter

Issue 2 - Spring 2002

Philip Johnson, Turning Point, 1996

Feature Articles | Short Features | Faculty News | Student and Alumni News

· an interview of Cleveland Museum of Art Associate Curator of Contemporary Art, Jeffrey Grove (CWRU PhD ’99) by Frank Spicer 
· recollection of the history of Free Stamp, a 24-foot tall painted steel sculpture that has become an important part of Cleveland’s collection of public sculpture by Edward Olszewski

An interview with Jeffrey Grove

by Frank Spicer

The Department of Art and Art History and the Cleveland Museum of Art are proud to welcome Jeffrey Grove as the Associate Curator of Contemporary Art.  Jeff earned his B.F.A. in Industrial Design at the University of Illinois and his M.A. in Art History and Archaeology at the University of Missouri Columbia.  In 1999 he earned his Ph.D. in Art History here at Case Western, where he wrote his dissertation on Robert Mapplethorpe’s self-portraits. 

                    While working on his doctoral degree, Jeff was also Curator of Exhibitions at the Akron Art Museum, where he organized shows such as “Andy Warhol:  Fame and Misfortune” in 1997 and “Liza Lou:  Bead the World” in 2000.  He then left Akron to take the position of curator of the International Spy Museum in Washington, D.C., due to open in May 2002.  His 18-month stint as curator of this nascent museum was a profitable experience.  He worked with designers and architects in helping to bring this institution into existence, but he ultimately missed dealing with works of art.  Therefore, when the contemporary curator position became available at the CMA, he saw this as a golden opportunity and immediately applied.  He was hired for this position this past summer, and after bringing his work in D.C. to a logical conclusion, he joined the CMA staff in August. 

                    Jeff’s position at the CMA has already been a rewarding experience.  Not many former students are privileged enough to have such a “dream job” as this position is for Jeff.  He recalls how, as a student at CWRU, he would think about what a wonderful experience it would be to earn a curatorial position at the museum.  Now he is not only curating, but also doing so in contemporary art, an area in the museum’s collection that has long been in need of improvement.  Take a look at the contemporary gallery and you will see that Jeff is already in the process of implementing exciting changes.

                    One obvious necessity was to rotate the works that had been on display for quite some time.  Some works are gone to make way for works that have been sitting dormant in storage.  Two Richard Long pieces, Cornwall Circle (1991) and Thirty-Seven Campfires (1987), have been installed, along with Bernd and Hilla Becher’s Blast Furnaces, Ohio (1980-86).  Jeff plans to integrate photography into the galleries, as well, which will give visitors a look at media other than sculpture or painting. 

                    Jeff is currently searching the art market for new works that will improve the museum’s presentation of contemporary art.  If you’ve been in Gallery 243 recently, you’ll notice that there is already a recent acquisition, Frank Stella’s installation sculpture Catal Huyuk (level VI B) Shrine VI B.1 (2001).  Quite the visual tour-de-force, this piece was a gift to the museum from Agnes Gund and Daniel Shapiro.  There will certainly be more works in the near future.  Next summer, in fact, Jeff is bringing “Into the Light” to the CMA, which is now at the Whitney Museum in New York.  The show opens June 30, 2002, and runs through September 8, 2002.

                    Grove has also contributed numerous essays to catalogues and publications, most recently to a catalogue soon to be published by the Cranbrook Art Museum, near Detroit.  His personal taste in art is quite varied.  Since he’s interested in Sixteenth Century French art to Abstract Expressionism, the Cleveland Museum is the perfect place for those like him.  Jeff’s taste in music is also very eclectic, ranging from Leonard Cohen and Jeff Buckley to the Smiths and Belle & Sebastian.  He seems to have a particular penchant for European pop music though.  When he does find leisure time in his hectic schedule, reading is another passion he tries to fulfill.  He is currently reading two books, Carter Beats the Devil and The Corrections, both of which he highly recommends.

                    There will be some exciting changes in the near future for the museum’s contemporary collection.  Grove is indeed a breath of fresh air for this institution.  As the Associate Curator of Contemporary Art, he will soon be bringing examples of the art of today a little closer to home for all of us.    

Acceptance and Rejection: Revisiting Claes Oldenburg and Coosje van Bruggen’s Free Stamp
By Edward Olszewski
Editor’s Note: Many of us know Dr. Olszewski for his Renaissance scholarship; however, his interests span several centuries and comes closer to home as well. One of these interests has been Free Stamp.  While many Clevelanders and tourists remark on the whimsical nature of this enlarged rubberstamp, the sculpture’s beginnings were not so carefree, as Dr. Olszewski recalled in two recent lectures (an Art for Lunch and a public lecture held at Cleveland’s Sculpture Center). The following is a summary of the sculpture’s history written by Dr. Olszewski.

In 1990, British Petroleum (BP) purchased SOHIO (Standard Oil Company of Ohio) and immediately terminated its contract with Claes Oldenburg and Coosje van Bruggen for a sculpture to embellish the entrance to their new corporate headquarters on Public Square. The forty-ton sculpture had already been crafted by Chicago Bridge and Iron Services, and lay in more than eighty sections in a warehouse in Kankakee, Illinois waiting to be transported to Cleveland for assembly. BP offered the sculpture as a gift to the City of Cleveland. Then Mayor George Voinovich suggested a site in Willard Park next to City Hall. City Council, however, refused to accept the rejected sculpture.

As the project then languished for more than three years, I drafted a petition to BP's CEO signed by twenty-four art historians fromCWRU, Cleveland State University, John Carroll University and the Cleveland Institute of Art urging its rapid installation. Several institutions had offered to take the sculpture including the Free Clinic, the Cleveland Clinic, Oberlin College, and the Walker Art Center in Minneapolis, among others. Oldenburg and van Bruggen argued that the work was site specific, engaging a lawyer who informed BP that they now considered the work to be destroyed by virtue of its rejection.

After months of silence, BP finally responded to our petition stating only that the installation of the sculpture would be "inappropriate," (apparently not quite the bold sashay that the prim British executives wanted for their entry into the American corporate scene). Meanwhile, BP's attorneys had begun negotiations with the City, and the sculptors began to consider redesigning the sculpture for a new site. The work was now considered as cast away by the artists, freed of its corporate sponsors, its location on Public Square, and of its base. It was embedded on a diagonal in its new location in Willard Park, pointing toward its "ink pad" and at the office window of BP's CEO, its configuration now part of its iconology. After its installation, Oldenburg and van Bruggen admitted that without the petition, Free Stamp would never have been installed.

· Information on upcoming Cleveland Symposium (Friday, April 12, 2002)
· Shorter interviews with new faculty 

TheC leveland Symposium 2002 will be held at the Cleveland Museum of Art from 10 am until 5 pm on Friday, April 12, 2002. Now in its 28th year, the graduate students in the Cleveland Museum of Art/Case Western Reserve University joint program in Art History and Museum Studies organize the symposium. The symposium will be followed by the Annual Buchanan Lecture in Art History and the Humanities, held annually in honor of Professor Emeritus Harvey Buchanan.  We are pleased to welcome Arthur Danto as Buchanan Lecturer in 2002. The lecture will be held at the Cleveland Museum of Art at 7pm with a reception following at The Sculpture Center (1834 E. 123rd). For directions to the reception, please call The Sculpture Center at 216.229.6527. The symposium, lecture, and reception are free and open to the public.

Welcome the new faces around the department:

Sue Bergh | David Carrier | John J. Ciofalo | Constantine Petridis

Interview with Sue Bergh

CMA Associate Curator, Art of the Ancient Americas

1. Where are you from originally? Where did you attend undergraduate and graduate schools? What was your area of focus while at these institutions?

I am originally from Minnesota, but I did my undergraduate studies at New York University, where I took a Pre-Columbian class as a scheduling convenience during my last semester. I fell in love with the subject and, though I'd been admitted to Columbia university as a modernist (my concentration at NYU), I switched to Pre-Columbian as soon as I matriculated at Columbia and have been with it ever since. I earned both my masters and doctoral degrees from Columbia.

2. Where have you worked before coming to Cleveland?


Brooklyn Museum of Art, assistant curator (part-time)

Metropolitan Museum of Art, graduate dissertation fellow for two years; then one year as a research assistant working on two small exhibitions (Costa Rican jades and Native North American art from a private collection)


The Cooper Union, New York City, adjunct,

Rutgers University, New Brunswick, NJ, adjunct,

Texas Christian University, Fort Worth, TX, assistant professor

3. What current projects are you working on?

I have just completed a reinstallation of the main Ancient American gallery at the CMA, and I am about to start preliminary research for a special exhibition on the Inka. I am currently participating in the curatorial interpretation team in conjunction with the planned museum expansion and renovation. In addition, I am writing several articles based on my dissertation, "Pattern and Paradigm in Middle Horizon Tapestry Tunics" (Columbia University, 1999), and am teaching an art history course at CWRU this semester (Spring 2002).

4. Are there any special projects that you will be working on while in Cleveland, or specific to your time in Cleveland?

Mainly an Inka special exhibition; the Inka developed a wonderful abstract tradition -- I’m interested in the issue of abstraction and its meaning in different cultural contexts. There's never been a major Inka exhibition, in spite of the fact that there's plenty of research to support such a project. I'll be in Peru in May to see if Peruvian institutions are interested in participating in such a show, as it would be difficult to do it without them.

I'm also interested in the issue of miniatures, which were extremely important to many ancient Andean cultures; a CWRU seminar might be an interesting way to begin research into the project, with the ultimate goal of mounting an exhibition; such an undertaking would give students exposure to the mechanics of museum and to the challenges of writing museum texts, among other things.

Sue Bergh, was interviewed by Siobhan Conaty

Interview with David Carrier

Champney Family Professor

After studying mathematics and physics at MIT, David Carrier made a bold move - in his senior year he crossed campus and majored in philosophy. While in graduate school at Columbia, he wrote his thesis in aesthetics and began to author art criticism while teaching in the philosophy department at Carnegie Mellon. After a few years, his thoughts and publications shifted to art history.

Fortunately for us in Cleveland, Carnegie Mellon does not have an art history department, so when the joint CWRU/CIA Champney Family Professorship was advertised, Carrier made his move. This post dovetails Carrier's interests, allowing him the opportunity to teach graduate students in art history and studio artists. Being a member of a department directly connected with the Cleveland Museum of Art is an added benefit since the book he is currently writing concerns the philosophy of the art museum.

Carrier revealed that over the course of his career, fellow authors and artists have greatly influenced his approach to scholarship. When he began writing, the style of legendary English author Adrian Stokes (1902-72) had a significant impact. Though the two never met, Carrier was fortunate to spend several summers with Stokes’s family in their eighteenth-century London home. George Leonard, the only academic Carrier knows as a rock and roll star, impacted his view of popular culture. But perhaps those who have had the greatest affect on his life and art historical scholarship are his intimate friends: the philosopher Arthur Danto (who, by the way, will be giving the Annual Buchanan Lecture at CWRU on April 12 following the Cleveland Symposium), the painter Sean Scully, and the literary scholar Marianne Novy.

Professor Carrier loves to travel, enjoys cooking and eating Indian cuisine, and, in his spare time, enjoys reading writer's biographies.

David Carrier was interviewed by Kim Hyde

Interview with John J. Ciofalo

Visiting Associate Professor

Thinking like a true scholar, in other words for "quality fun and sun," what, Jake Ciofalo asked, "should be the country of the art or artist to be researched?" Spain and Hawaii were the final two choices. Ciofalo reluctantly chose "Spain and Goya over Hawaii and ... well, over Hawaii."  After "descending from the mountains of Colorado University to the cornfields of Iowa," he staked his claim for a Ph.D. and first book based on Goya and self-portraiture.  "It was then time to leave the nest."

Now, Ciofalo is "thankfully" at CWRU and on to other territories of research: "a picture book and a perturbing book."  The latter is a surprise (there is sex involved, however, he thinks and hopes), while the former is based upon the last works of artists.  The project's central theme is roughly this: "how, if at all, is this once-in-a-lifetime circumstance reflected in the work of art?" About the progress, Ciofalo points to his head in the fashion of Mozart - "it's all up here."  His favorite hobbies include: playing Brio trains with his son, listening to opera, trying desperately to imitate his Mother's Sicilian cooking, and the cultivation of herbs.  He's a closet fan of the Cowboy Junkies (no relation, of course, to the former hobby) and the website of the harsh movie critic, Mr. Cranky.  One of his goals in life is "to watch a movie, a terrible movie, with Mr. Cranky."

Jake Ciofalo was interviewed by Charles Yannopoulos

Interview with Constantine Petridis

CMA Assistant Curator of African Art/Assistant Professor of Art History

1. Where are you from originally? Where did you attend undergraduate and graduate schools? What was your area of focus while at these institutions?

I am of Greek origin, but was born and raised in Belgium, and lived most of my life in Antwerp.

I attended both undergraduate and graduate schools at Ghent University, specializing in non-Western art -- called Ethnic Art at Ghent -- with an area emphasis on Central Africa (both my MA and Ph.D. theses were monographic studies on the arts of two peoples of the Democratic Republic of the Congo).

2. Where have you worked before coming to Cleveland?

Internship at the Antwerp Ethnographic Museum, 1991-1993  [in fulfillment of my 'civil service' in lieu of the then compulsory military service]

Fellowship of the Fund of Scientific Research - Flanders (FWO) and doctoral candidate at Ghent University, 1993-1997.

Jane and Morgan Whitney fellowship of the Metropolitan Museum of Art, New York, 1997-1998.

Fellowship of the Belgian American Educational Fellowship (BAEF) at the Metropolitan Museum of Art, New York.

Postdoctoral Fellowship of the Fund for Scientific Research - Flanders (FWO) and lecturer at Ghent University, 1998-2001.

3. What current projects are you working on?

Topics include:

            a) Frans Olbrechts and the history of African art studies from a European perspective;

            b) arts of the Luluwa and neighboring peoples in Central Africa;

            c) the representation of African art in 19th and early 20th century travel literature

4. Are there any special projects that you will be working on while in Cleveland, or specific to your time in Cleveland?

I would like to organize classes and research in connection with the reinstallation of the African art galleries at the Cleveland Museum of Art and hope to involve students in the different aspects of this work as much as possible.

In preparation of this general reinstallation, which will be accompanied by a catalogue of the collection, I would also like to systematically research particular highlights of the African collection, which may lead to an "Object in Focus" presentation and/or a contribution in the Cleveland Museum Studies in the History of Art.

Constantine Petridis was interviewed by Siobhan Conaty

Faculty News
Henry Adams, along with Viktor Schreckengost, was the recipient of the Northern Ohio Live Award of Achievement for the Visual Arts, 2000-2001. The award ceremony was held at the State Theater, Cleveland, in September 2001. Dr. Adams's recent work includes the essay, "La tradition de l'art moderne aux Etats-Unis," for the exhibition catalogue Made in U.S.A.  for the Musee des Beaux-Arts, Bordeaux, France (October - December, 2001). In addition to the French edition, Abrams published an English translation in January 2002. Other recent projects include the exhibition catalogue for Paul Travis, 1891-1975, for the Cleveland Artists Foundation, in December 2001, and the essay, "What Happened to Byron Browne?" an introduction to a Byron Browne exhibition catalogue at the Melvin Art Gallery of Florida Southern College, Lakeland, Florida, September, 2001.

David Carrier, newly appointed Champney Family Professor, has been invited to join the joint faculty as a permanent position. He has two books nearly finished, Sean Scully to be published by Thames and Hudson, and a radical revision of his Artwriting (1987), forthcoming from Allworth Press. His intellectual biography of Rosalind Krauss is to appear from Greenwood/Praeger. Carrier's major work in progress is a study of the art museum.

Jake Ciofalo was invited this January 2002 as a special guest speaker at the National Gallery in London, England.  The title of his talk was "Ape-like to God-like: Tracing the Trajectory of Francisco Goya's Courtly Star."   The invitation was in conjunction with the exhibition at the National Gallery of Goya's The Family of the Infante Don Luis on loan from Italy.  He will be giving a talk in April in Colorado Springs at the American Society of Eighteenth Century Studies entitled, "Chardin's Last Self-Portrait in Pastel."  In May, he has been invited to speak at the symposium in Toronto, Mirror or Mask? Self-Representation in the Modern Age.  The title of the talk is "Titian to Dix: Self-Portrayal as a Last Work before Death."  He is also pleased to contribute an essay this spring to a book soon to be published by the University of Delaware Press, edited by Laurinda S. Dixon and Elizabeth Menon, entitled, Disease, Decadence, and Regeneration: Metaphorical Images in Art and Culture.  The title of the contributing essay is "From Sadism to AIDS: Confronting Dracula's Diseases and Popularity."

While on research leave in the fall of 2001, Ellen Landau was awarded a short-term senior fellowship at the Smithsonian Institution's American Art Museum for research on two books: Reading Abstract Expressionism: Context and Critique (Yale University Press, 2003) and Mexico and American Abstraction. Dr. Landau has also written the essay "Jackson Pollock: The Body and Nature”, for Jackson Pollock a Venezia, an exhibition that opened in March of 2002 at the Museo Correr in Venice (catalogue to be published by Skira). She contributed two essays on Lee Krasner for the exhibition Il Gruppo degli Irasciblili, also opening in Venice in March of 2002.

While on sabbatical leave for 2001-2002, Jenifer Neils delivered the opening paper at the Greeks and Barbarians conference in Catania, Sicily, and presented a paper at the international colloquium Regards croises sur la naissance et la petite enfance dans l'Antiquite classique in Fribourg, Switzerland. She has also lectured at the International Vase Symposium  Griechische Keramik Im Kulturellen Kontext in Kiel, Germany and on the Parthenon frieze at both the Ludwig-Maximilians-Universitat in Munich, and the Archaeological Seminary of the University of Basle. Dr. Neils gave the convocation lecture at Willamette University in September and a presented a Humanities Center lecture at Fairfield University in October. In addition, Dr. Neils published three articles in the following volumes: Athena in the Classical World, Panathenaika, and Kunstlerlexikon der Antike and presented papers at the annual meetings of AIA in January and CAA in February.

Edward Olszewski's most recent publications include the essay "Framing the Moral Question in Pollaiuolo's Hercules and Antaeus," in Wege zum MythosIlonographische Repertorien zurRezeption des antiken Mythos in Europa (Berlin: Mann Verlag, 2001), and "The Enlightened Patronage of a Roman Cardinal: Pietro Ottoboni (1667-1740)," in artibus et historiae, (XX/2, 2001).

While serving as the acting chair of the department in the fall of 2001, Catherine Scallen gave the paper, "Where Have All the Rembrandts Gone?  Rembrandt Connoisseurship One Hundred Years Ago and Today," at the National Gallery of Art in Washington DC,  in September 2001. Forthcoming this year for Dr. Scallen is the essay "Rembrandt in the Nineties," in Alan Chong and Michael Zell, Rethinking Rembrandt,  (Isabella Stewart Gardner Museum, Boston), and the article "Who Gets to Be a Rembrandt Connoisseur?" for a special issue on Rembrandt reception in Dutch Crossing.

Current and Former Students

Ph.D. Students:

Bradley Bailey presented “The Dukes of Hasard: Marcel Duchamp and the French Probabilists” at CAA (Philadelphia, 2002). His article “The Bachelors: Pawns in Duchamp’s Great Game” appeared in tout-fait: The Marcel Duchamp Studies Online Journal (December 2001, Volume 1, Issue 3).

Juilee Decker  was session chair at the American Conference on Romanticism in November 2001 where she also presented a paper entitled “John Constable’s English Landscape: Visions of the Artist or Transcripts on Paper?” In March 2002, Juilee presented “Moo! Oink! Neigh! Twanngg! Themed Public Sculpture Invades American Streets” at the American Culture Association/Popular Culture Association conference in Toronto.

Tamara Durn presented two papers this semester:  “The Revelation of the Rocks: The Meaning of Giovanni Bellini’s St. Jerome in the Desert”,  was given at the 13th Biennial New College Conference on Medieval-Renaissance Studies (Sarasota, Florida)  and “The Subject of G.B. Castiglione’s Journey of Patriarch Identified” at Midwest Art History. Tammy is also assisting Professor Neils with an exhibition relating to children and Greek art to be held at the Hood Museum (Dartmouth University, Hanover, NH).

James Ellis presented “The Social Dream and Transcendant Indifference: Ben Shahn’s Images of the South” at Midwest Art History (Minneapolis, 2001) and the New Scholars/New Ideas Symposium in Richmond, Virginia. This spring, James will present two papers: “Self-Identification with the ‘Honest Hobo’: Walter Broe in the Art of the Fourteenth Street School” (Midwest Art History, Milwaukee) and “Class Consciousness and Urban Reality: Portraiture in the Art of the Fourteenth Street School” as part of the Mirror or Mask? Self-Representation in the Modern Age Symposium (May 2002, Toronto).

Jennifer Finkel and husband Eric welcome a baby daughter to their family. Congratulations!

Kim Hyde presented her paper, “Personifying Religious Ideals: The Temple’s Charity Window” in the session “An Environment for Art” at the American Culture Association/Popular Culture Association conference in Toronto.

This spring marks Evelyn Kiefer’s sixth season at the Steamship William G. Mather Museum, a maritime – and Cleveland’s only floating -- museum on the lakefront. Evelyn’s work has given her the opportunity to research a local marine painter and Cleveland Institute of Art graduate, Kinley Shogren. Evelyn presented her findings last August as part of the Great Lakes Heritage Lecture Series and will acquaint audiences with her new findings this summer aboard the Steamship William G. Mather.

Aimee Marcereau will present her paper “The Subliminal in the Sublime: Thomas Lawrence and his Rejected Portrait of Catherine Gray, Lady Manners” at Midwest Art History (Milwaukee, 2002).

Susan Martis presented her paper, “Mobility and Reflection: Water and the Aesthetic Form of Outdoor Fountains” at the American Culture Association/Popular Culture Association conference held in Toronto (March 2002).

M.L. Moore, husband Nick, and son Quinn welcome baby daughter, Sasha, to their family. Congratulations!

Michael Morford is busily studying for his Ph.D. exams and still finds the time to take donations for his presidential race (soft money only, please).

Dena Woodall presented “Sharing Space but not Status: Inequalities in Renaissance Double Portraiture” at Midwest Art History 2002 and “Looking at the Overlooked: Michelangelo’s genii on the Sistine Chapel Ceiling” at the New College Conference on Medieval-Renaissance Studies. She has written catalogue entries in her work at the CMA and the Nelson-Atkins Museum of Art. And, in her spare time, Dena is still campaigning for some kind of crosswalk between the CWRU campus and the CMA (see previous issue of newsletter).

M.A. Students:

Lindsay Ash presented her paper “Representation and Ritual: Scenes of Swinging in Greek Vase Painting” at the University of Arizona Art History Graduate Symposium in January 2002.

Christopher Bedford was featured in The Plain Dealer “Fashion Flash” last November.

Prior to coming to CWRU, Marcie Hocking did an internship at the Reynolds House, Museum of American Art in Winston-Salem, NC. She now spends her time doing bibliographic research for the new American paintings catalogue for the Cleveland Museum of Art. Marcie will present “John Rogers Cox’s Grey and Gold: The Making of a Mystery” at Midwest Art History (Milwaukee, 2002). Awarded two internships (one at the Guggenheim and another at MOMA), Marcie has accepted the summer internship at MOMA’s Drawings Department.

Victoria Kasper compiled a bibliography for the Burgundy exhibition under the direction of CMA curator Stephen Fliegel.

Shannon Price has been busy this past year as a Teaching Assistant for 101 and interning for CMA curators Henry Adams and Sue Bergh. For Adams, Shannon researched Art Deco objects created by Rose Iron Works (Cleveland). Under the direction of Sue Bergh, Shannon is researching art from the Americas and writing wall text for these works in Cleveland Museum of Art’s collection. Shannon will present “Gods or Monsters? The hostile reception of David’s Cupid and Psyche” at Midwest Art History (Milwaukee, 2002).

Since last summer, Frank Spicer has completed two internships and is nearly finished with his third. At the Akron Art Museum Curatorial Department and Office of the Registrar, Frank researched artists and works for future exhibitions as well as provenance research. In the fall, Frank assisted Cleveland Museum of Art curator William Robinson, with research for the museum’s Picasso exhibition. Currently, Frank working with CMA Associate Curator of Contemporary Art, Jeffrey Grove (see Frank’s interview of Jeff in this newsletter).Frank’s interest is modern/contemporary British art.

Tiffany Washington serves as Editor-in-Chief of the largest and oldest fraternal newspaper in the U.S., America, an American-Romanian newspaper. Last summer, with fellow M.A. student Shannon Price, Tiffany researched uncatalogued objects and drawings created by Rose Iron Works. Tiffany prepared this material as an image and text database that considered conservation, gallery layout, storage, and environmental issues. For her internship this fall, Tiffany compiled and organized a database of the CMA’s Early Christian, Byzantine, and Medieval Collections.  In March, she presented a paper at the Medieval and Renaissance Conference at New College (Sarasota, Florida)  in entitled “The Relationship between the depictions of the sacred and the imperial: The mosaic of Theodora at San Vitale and the Madonna della Clemenza in Santa Maria in Trastevere.”

Cathy Watkins has completed two internships in addition to her teaching responsibilities at St. Thomas School in Rocky River. For the “Reflections on Glass” exhibition at Stan Hywet Hall and Gardens, she provided text to accompany William Sieberling’s glass plate photographs.  At the Cleveland Museum of Art (Dept. of American Painting), Cathy edited Henry Adams’s manuscript on Boardman Robinson.

Charles Yannopoulos was granted three awards for his art reviews in Scene Magazine. 1st place from Ohio Professional Writers; 2nd place from the Cleveland Press Club; and 3rd place from the National Federation of Press Women. Way to go!


Katie Bourguignon is Assistant Curator at the Musée d’Art Américain in Giverny, which was founded in 1992 by Daniel Terra and funded by the Terra Foundation for the Arts with the purpose to explore the historic and aesthetic connections between French and American artists

Meg Goehring served as co-chair for a session entitled, “The Making of Illuminated Manuscripts in Flanders Between 1420 and 1530” at the Historians of Netherlandish Art conference, which was held in March in Antwerp. She also presented a paper and co-chaired a workshop and roundtable discussion on Flemish manuscript illumination at Groningen Codicology Days (in Leeuwarden).

Samantha Hoover is Project Manager at Acoustiguide, the company that does the audio tours for museums. She is also writing an essay for a catalogue on Canadian painter Jean-Michelle Martin.

James Martin is Curator of the Sprint Art Collection (Kansas).

Other Links:

Dissertations in Progress
A complete list of dissertations in progress is maintained by the department and is available online.

Each semester students, faculty, and guests offer a variety of lectures that are free and open to the public. Called "Art for Lunch", these lectures are informal and provide a venue for the first results of research. Additionally, the Annual Harvey Buchanan Lecture in the Humanities and the Cleveland Symposium are offered in the spring. The lecture is in honor of Emeritus Professor Harvey Buchanan who retired from the Department of Art History. Each year, a scholar is invited to offer a paper on a topic of interest to the academic community. The lecture has been held in conjunction with The Cleveland Symposium, which is the graduate student run event that provides a forum for Master's and PhD students to present their research. The Symposium is open to all periods of art history and welcomes submissions from graduate art history students worldwide.

Newsletter Committee
Bradley Bailey
Siobhan Conaty
Juilee Decker
Kim Hyde
Charles Yannopoulos