The Associate Scholars group is made up of, predominantly, early-career researchers based at The Courtauld in conjunction with distinguished Visiting Professors. Postdoctoral Fellows working on a range of topics and Visiting Lecturers and Visiting Professors teaching courses at The Courtauld form the core membership of this group. The Associate Scholars meet at least once a term giving an opportunity for the members to offer presentations and share knowledge about their research.
The 2008-2009 Associate Scholars are listed below.
Elizabeth Bartman is a specialist in Greek and Roman art. In 2008-09, she was working on two major projects: a study of ethnic identity in Roman portraiture and of the "ideal" sculpture – images of gods, mythic figures, personifications, etc. as opposed to historical personages – collected by Henry Blundell in the late eighteenth century for his estate at Ince outside Liverpool. The largest private collection ever assembled in Britain, Blundell's statues present a cross-section of Roman decorative sculpture; heavily restored, they are as much a reflection of eighteenth-century art as of ancient. Working with this material has led her into new areas of research such as the Grand Tour, collecting, and the reception of the antique. She was elected First Vice-President of the Archaeological Institute of America in January 2007.
Judith Batalion was the 2008 Research Forum Fellow. She completed her PhD, entitled 'Mad Mothers, Fast Friends, and Twisted Sisters: Women's Collaborations in the Visual Arts (1970-2000)' in 2007. Judith's research interests include creative collaboration, representations of domesticity, feminist performance art, the history of friendship, humour, and the relationships between science and art. During her fellowship, she edited a collection of writing about comedy audiences.
James Boaden's PhD research engaged with questions of nostalgia and the pastoral genre in collage, assembled sculpture and experimental film in 1950s America. James has published articles on the subject in the Courtauld Institute's research journal immediations as well as the on-line journal of the AHRC Centre for Surrealism and its Legacies: Papers of Surrealism. James has also conducted freelance curatorial work for the exhibition 'Starting at Zero: Black Mountain College 1933-1957' (Kettle's Yard, Cambridge, 2005) and for the screenings entitled 'Lights Up: American Structural Film' at the National Film Theatre, London in 2006.
Federico Botana is the 2009 Research Forum Fellow. His research focuses on the relationship between visual culture and social practices in the Late Middle Ages. Hewas completing a book on the representation of the Corporal and Spiritual Works of Mercy in medieval Italy. His previous publications included: ‘Virtuous and Sinful Uses of Temporal Wealth in the Breviari d’Amor of Matfre Ermengaud,’ Journal of the Warburg and Courtauld Institutes, LXVII (2004); ‘Like the Members of a Body: Assisting the Poor in Matfre Ermengaud’s Breviari d’Amor,’ in Armut und Armenfürsorge in der italienischen Stadkultur zwischen 13. und 16. Jarhunderts, edited by Philine Helas and Gerhard Wolf (Frankfurt, 2006).
In 2008-09, Lucy Bradnock was completing her PhD at the University of Essex on the reception of Antonin Artaud in American art during the period 1949-65. Her research focuses on various artists, including Wallace Berman, John Cage, Bruce Conner, Carolee Schneemann and Robert Rauschenberg. Central to her work are issues of literary transmission, translation, and the problems of Surrealist legacy. Lucy Bradnock has presented her research at conferences at Tate Modern, The Courtauld Institute, and in CAA and AAH conferences. She published an article on Nancy Spero's engagement with Artaud in Papers of Surrealism (issue 3, spring 2005); she is a founder-editor of rebus, the Essex postgraduate journal of art history and theory; a visiting lecturer at the Slade School of Fine Art; and has been recently appointed coordinator of the Research Forum Writing Art History seminar group.
Benedict Burbridge is a writer and curator with a particular interest in contemporary art and the history of photography. He is currently undertaking doctoral research at the Courtauld Institute, focusing on the influence of nineteenth-century scientific and pseudo-scientific photography upon contemporary photographic art. A Visiting Lecturer at the Courtauld, Benedict has also worked as a Researcher with the visual arts organization Photoworks, commissioning new photography, managing and curating exhibitions, producing publications and a bi-annual magazine. Recent exhibitions include We Are Witnessing the Dawn of an Unknown Science at the Permanent Gallery in Brighton; No Passaran! at Charleston Farmhouse in Firle; and Mass Observation at the Centro Cultural Conde Duque, Madrid, as part of PhotoEspana 2005. He has written regularly for Photoworks magazine and has contributed essays to publications including Henna Nadeem: A Picture Book of Britain (Photoworks, 2006) and Pavillion Commissions 2007 (Pavilion, 2007).
Robin Cormack is an eminent Byzantinist and has been rewarded with the title of ‘Emeritus Professor’ after a long teaching career at the Courtauld Institute. His publications include several major studies, notably his articles on the mosaics of St. Sophia at Thessaloniki (1981) and on the Icon of St. Peter at Chora (1983); and his monographs Writing in Gold: Byzantine Society and its Icons (1985), and Painting the soul: Icons, death masks and shrouds (1997). He has recently co-curated with Adrian Locke and Maria Vassilaki the exhibition Byzantium at the Royal Academy of Arts.
Charlotte de Mille
In 2008-09, Charlotte de Mille’s research developped in three inter-connected areas. First was the subject of her PhD, which was near completion. This doctoral work investigated the impact of French philosopher Henri Bergson on British Modernism c. 1890 – 1914, and expansion of this study into the 1920s was planned for the coming year. Second was her involvement with the Research Forum’s “Writing Art History” group, for which she explored the possibilities and limitations of intuition as a method for Art History though the work of Henri Bergson and Virginia Woolf. Lastly, was an interest in the relation between the disciplines of music and the fine arts in the Modern period, on which she organised a conference entitled “Music and Modernism” taking place in May 2009 with the help of the Research Forum. In 2008-09, Charlotte was a Visiting Lecturer at the Courtauld Institute.
Peter Dent was a British Academy Post-Doctoral Research Fellow. Heworked on a project entitled 'Sculpture and the Senses in Late Medieval Italy'. This concentrated on the strategies that Italian sculptors employed in the thirteenth and fourteenth centuries in order to communicate a sense of 'presence'. Beyond the immediate historical contexts for this enquiry, he also explored how developments during this period related to the long running theoretical debate about the nature of sculpture, in particular its ability to stimulate the sense of touch, in contrast to painting, which is primarily concerned with sight. This interest grew out of research conducted for his PhD, The Body of Christ in Fourteenth-Century Tuscan Sculpture, undertaken at the Courtauld Institute of Art and completed in 2005. More generally, he is interested in the relationships between sculpture and painting.
Caroline Elam's research interests include many areas of Italian renaissance art, architecture and urbanism, as well as the history of art history and criticism since the mid nineteenth century. In 2008-09, she was completing a book on Roger Fry and Italian Art for Yale University Press, and writing a chapter on 'Art in Lorenzo de' Magnifico's Florence' for a volume on Renaissance Florence to be published by Cambridge University Press. She co-curated and edited the catalogue of an exhibition on Michelangelo's architectural drawings for the Centro Palladiano in Vicenza (closing 10 December 2006) which moved to the Casa Buonarroti, Florence, from 15 December to 19 March 2007. Her next project was a book to be called The Urban Face of Renaissance Florence.
Sander L. Gilman
Sander L. Gilman is a distinguished professor of the Liberal Arts and Sciences as well as Professor of Psychiatry at Emory University, where he is the Director of the Program in Psychoanalysis and the Health Sciences Humanities Initiative. A cultural and literary historian, he is the author or editor of over eighty books. His Fat: A Cultural History of Obesity appeared in 2008; his most recent edited volume, Race and Contemporary Medicine: Biological Facts and Fictions was published that same year. He is the author of the basic study of the visual stereotyping of the mentally ill, Seeing the Insane, published by John Wiley and Sons in 1982 (reprinted: 1996) as well as the standard study of Jewish Self-Hatred, the title of his Johns Hopkins University Press monograph of 1986. For twenty-five years he was a member of the humanities and medical faculties at Cornell University where he held the Goldwin Smith Professorship of Humane Studies. For six years he held the Henry R. Luce Distinguished Service Professorship of the Liberal Arts in Human Biology at the University of Chicago and for four years was a distinguished professor of the Liberal Arts and Medicine and creator of the Humanities Laboratory at the University of Illinois at Chicago. During 1990-1991 he served as the Visiting Historical Scholar at the National Library of Medicine, Bethesda, MD; 1996-1997 as a fellow of the Center for Advanced Study in the Behavioral Sciences, Stanford, CA; 2000-2001 as a Berlin prize fellow at the American Academy in Berlin; 2004-5 as the Weidenfeld Visiting Professor of European Comparative Literature at Oxford University. He has been a visiting professor at numerous universities in North America, South Africa, the United Kingdom, Germany, and New Zealand, and, in 2008-09 he was Visiting Professor at the Courtauld Institute teaching in collaboration with Shulamith Behr on the Research Forum / Andrew W Mellon Foundation MA Arts in Exile in Britain 1933-1945: Politics and Cultural Identity. He was president of the Modern Language Association in 1995. He has been awarded a Doctor of Laws (honoris causa) at the University of Toronto in 1997, elected an honorary professor of the Free University in Berlin (2000), and an honorary member of the American Psychoanalytic Association (2007).
Teresa Gleadowe was the founding director of the MA programme Curating Contemporary Art at the Royal College of Art and directed the course from 1992 to 2006. During this period the department pioneered research into relationships between contemporary art and curatorial practice and developed a series of ambitious international art exhibitions selected and curated by students on the course. In 2008-09, Teresa Gleadowe was continuing her research into aspects of recent curatorial history and was Commissioning Editor for a new series of books, which will provide a historical study and critical appraisal of significant exhibitions of contemporary art in the period from the mid-twentieth century to the present.
Linda Goddard was a British Academy Postdoctoral Research Fellow. Her research focuses on the relationship between painting and literature, as well as art criticism and artists' writings in nineteenth- and early twentieth-century France. She completed her PhD, Aesthetic Hierarchies: interchange and rivalry between the visual arts and literature in France, c.1890-c.1920 at the Courtauld in 2004, and has since taught at the Courtauld and the University of Cambridge. During her fellowship, she was researching the writings of Paul Gauguin in the context of interdisciplinary tension and interaction in fin-de-siècle France. She has published two articles, 'Birds of a Feather? Gauguin's ambivalent relationship with literary symbolism', immediations: the research journal of the Courtauld Institute of Art, 2005 and 'Mallarmé, Picasso and the aesthetic of the newspaper', Word & Image, October-December 2006, and co-edited the exhibition catalogue Literary Circles: artist, author, word and image in Britain, 1800-1920, Fitzwilliam Museum, Cambridge, 2006.
Catherine Grant completed her PhD, entitled Different Girls: performances of adolescence in contemporary photographic portraits at the Courtauld Institute in 2006. Her research interests include the representation of adolescence and femininity in photography, the theorisation of spectatorship and identification in relation to the photographic portrait, and the intersection between queer theory and feminism. Her research built on her PhD, which was being prepared for publication in various formats. She was the 2007 Research Forum Fellow at the Courtauld Institute of Art and in 2008-09 she was the coordinator for the Research Forum’s Writing Art History seminar group, as well as being a Teaching Fellow at the Slade School of Art and a Visiting Lecturer at the Courtauld.
In 2008-09, Melena Hope was the Bob McCarthy Post-Doctoral Fellow working in collaboration with the Conway Library at the Courtauld Institute of Art. In 2008, she submitted her doctoral thesis entitled 'Painted Domestic Chapels and Oratories in the Households of Fifteenth-Century France'. While her specific interests centre around religious wall paintings in domestic and other 'private' settings, she is more broadly interested in the function and audience of devotional art, the relationship between artworks of different media (especially the interplay between works of art and their architectural settings), and artistic culture in Northern Europe in the late fourteenth and fifteenth centuries. In addition to her own research, she was also a visiting Lecturer at the Courtauld Institute of Art.
As a Caroline Villers postdoctoral Fellow, her aim was to study Alexander Rodchenko's paintings from the perspective of technical art history. Alexander Rodchenko was one of the most vivid artists of the Russian avant-garde, and, especially, of the constructivism movement. His work encompasses a remarkable diversity of mediums and fields of endeavour: painting, sculpture, drawing, collage, graphics, photomontage, designs for utilitarian objects and photography. This project built on her doctoral work focusing on the analysis of the Rodchenko's techniques and materials, in relation to the aesthetic and compositional results, together with consideration of the history and the critical perception of Rodchenko's paintings, and the place of the examined paintings in the evolution of his work. The making of the pictures, the attitudes to materials, brushworks and colours of the works were investigated. Practices, themes, and attitudes were explored within the broader context of the Russian avant-garde. Kokkori's study focused on the examination of Rodchenko’s paintings from the Costakis collection and the Museum of Modern Art, New York. The technical examination of the materials and painting techniques used by the painter, intergraded with an analysis of his theoretical and practical aims as these are expressed in the artist’s writings, comments and practices of his contemporaries, aimed at providing a new perspective on the relationship between making and meaning in the examined works, and, also, to increase our understanding of the complex applied skills and artistic practices of the Russian avant-garde artists. The results not only gave insights into the relationship between theory and practice, and into techniques and workshop practices, they also contributed to issues of condition and authenticity .
In 2008-09, Caroline Levitt was a visiting lecturer at the Courtauld Institute of Art. She was then completing her PhD on the relationship between Guillaume Apollinaire and André Breton as manifested through their involvement and interest in artistic practices such as graffiti, illustration, cinema and the collection and construction of objects. She published an article in the 2007 issue of Immediations, entitled ‘Screening poetry: Guillaume Apollinaire, André Breton and experimental cinema’. Specialising in French art and literature of the late nineteenth and early twentieth centuries, other research interests, which she was planning to develop over the next few years, included the relationships between literature and sculpture, the work of Le Corbusier and the participation of artists in the decorative arts.
Mark McDonald is Curator of Old Master prints and Spanish drawings at the British Museum. His research interest include sixteenth and seventeenth century Spanish art, and European printmaking during the Renaissance. His recent publication The Print Collection of Ferdinand Columbus 1488-1539: a Renaissance collector in Seville was awarded the Mitchell Prize for Art History, the Eleanor Tufts Award for Hispanic studies in 2006, and named the Book of the Year by Apollo in 2004. His current and future research interests include Italian Chiaroscuro prints, the print collection of Cassiano dal Pozzo, Goya and Spanish drawings.
In 2008-09, Charlie Miller was Visiting Lecturer at the Courtauld, from which he received his PhD in 2006 for The Ambivalent Eye: Picasso 1925-1933. From 2005 to 2007 he was research fellow at the AHRC Research Centre for Studies of Surrealism and its Legacies, University of Essex. He published three pieces, 'Apocalypse', 'Archaeology' and 'Pablo Picasso', in Ades and Baker, eds., Undercover Surrealism: Georges Bataille and DOCUMENTS (Hayward Gallery and MIT Press, 2006), winner of the Art Newspaper & AXA Art Exhibition Catalogue Award. He is editor of 'The Use-Value of Documents', a special issue of the Papers of Surrealism (Autumn 2007), to which he has contributed a critical 'Introduction', an article entitled 'Bataille with Picasso: Crucifixion and Apocalypse', and a translation of an essay by Georges Didi-Huberman. His general research areas are the production and reception of Picasso, and the history and theory of the avant-garde. He was working on articles and a book about Picasso and surrealism. A second book project concerns avant-garde (ab)uses of history.
Dr Alexandra Moschovi's research has concentrated on the institutionalisation of photography in the 1980s and 1990s, exploring how its belated accommodation in the modern/contemporary art museum ushered in an ontological reassessment not only of its properties as a fine art practice, but also of the museum's foundational values. Her research interests also include British and American cultural policies and issues relating to contemporary politics of representation. Recent curatorial projects have focused on the fusion of the private into the public and the changing morpheme of the post-industrial landscape in contemporary photographic practice. She was working on the recontextualisation of nineteenth-century photographs in various institutions, examining their collecting and taxonomic biography and how their use and exhibition value has changed.
Austin Nevin is involved in the Andrew W. Mellon funded "Master of the Fogg Pieta – Maestro di Figline Project" – a project which aims to create a research-based website, integrating art historical and technical information about a group of
related but dispersed works by the Master of the Fogg Pietà, a major
but little-studied artist, active in Florence and Assisi, c.1310 –
c.1330 (also known as the Maestro di Figline). Two of the panels
from this putative ensemble belong to the Courtauld Institute, London,
the Harvard University Art Museums and in other European and American
museums. The intention of the pilot project is to bring together "virtually" the various
pieces that have been associated with a single ensemble by the Master
of the Fogg Pietà, together with detailed information concerning their
conservation, physical characteristics and history. This provided
the basis for further research and study of the probable components of
this altarpiece, and has the potential to expand from this nucleus to
a consideration of the wider oeuvre of the Master, an artist of
considerable technical interest, who worked in fresco and as a stained
glass designer as well as on panel.
Divia Patel is a curator in the Asian Department of the Victoria and Albert Museum, London. Her areas of expertise include 19th century photography of India, contemporary Indian art and popular culture. She co-curated an exhibition of paintings by western artists in India from the 17th -20th centuries, which toured in India during 2009. She curated the award wining, internationally touring exhibition, Cinema India: The Art of Bollywood and the photography section of the V&A exhibition, Arts of the Sikh Kingdoms (1999). Her projects in 2008-09 included a display of photographs of Buddhist sites across Asia for April 2009, and research on contemporary design in India. Her publications include Cinema India: The Visual Culture of the Hindi Film, Reaktion Press, 2002, and articles on photography, contemporary art and the paintings of Ajanta.
In 2008-09, Andreas Puth was a Visiting Lecturer at the Courtauld, teaching English and French Gothic architecture. He is interested in medieval architecture across Europe and has investigated fourteenth-century buildings in the Holy Roman Empire as settings for public imagery in urban contexts. Two articles on representations of the emperor and the seven electors on the trade hall in Mainz and the ruler imagery of Emperor Charles IV on the main parish church at Muhlhausen were in the press. He was completing his PhD thesis, 'Imitatio Caroli, Imitatio Rudolphi?,' reconsidering Habsburg dynastic representation c. 1360 to c. 1490. This looked at the visual strategies employed in various media by a "new" dynasty in fourteenth- and fifteenth-century Central Europe in order to foster an own identity and to advance its political ambitions. The thesis located Habsburg ruler imagery in a pan-European context, employing methodological revisions such as the questioning of the concept of 'court art' not yet sufficiently applied to Central European ruler patronage, and challenging the art-historical model of imitatio which has traditionally focused on the model allegedly provided for the Habsburgs by Charles IV and the court art and architecture he inspired in Prague. Publication of a conference paper on these issues is also forthcoming.
Evgeny Steiner is a specialist in traditional Japanese art and in the 19th-20th centuries Russian art. His books include Stories for Little Comrades: Revolutionary Artists and the Making of Early Soviet Children's Books (Univ. of Washington Press, 1999; Russian enlarged edition, 2002); Zen-Life: Ikkyu and Beyond (St.Petersburg, 2006; English edition is under preparation); Catalog of Japanese Prints in the Pushkin Museum of Fine Arts, 2 volumes, (Moscow, 2008 – edited, translated Japanese poetry and wrote about 650 entries); Victory Over the Sun, (London, 2008 – translated trans-rational Russian Futurist texts with commentaries and introduction). Prof. Steiner is Senior Research Associate at the Sainsbury Institute for the Study of Japanese Arts (based at School of Oriental & African Studies, London) and Principal Research Fellow of the Russian Institute for Cultural Research (Moscow). In 2008-09, his project dealed with European uncatalogued repositories of art displaced as a result of WWII. To enable him to work on this project, Prof. Steiner was named International & Area Studies Fellow '08-09 by the American Council of Learned Societies and Wingate Scholar by the Wingate Foundation.
Kate Stonor is a conservator with a special interest in the technical study of paintings with a view to illuminating artistic practice. Her research was based on British paintings in the Courtauld Gallery Collection and she undertook studies on both modern painters, such as Walter Richard Sickert, and Stuart painters, including Sir Peter Lely. Along with her colleague, Clare Richardson, Kate was working on an online database of colourmen's stamps to aid both conservators and art historians to identify the markings left by artists' suppliers on the reverse of paintings and give a specific date range for the production of the support. This database will build into a large reference collection, allowing people to search by artist or artistic group to look at patterns of use for types of support and artists' supplier.
Zahira Véliz has published frequently on the subject of Spanish drawings, especially the work of Alonso Cano. She has organised exhibitions at the Museo del Prado, Madrid and at the Museo de Bellas Artes de Asturias, Oviedo, Spain. In 2006 she organised a Wallace Collection exhibition focusing on Lady with a Fan by Velázquez, together with the variant from Chatsworth. Trained originally as an art conservator, she has contributed many articles to the literature of technical art history, and in 1986 she published Artists’ Treatises in Golden Age Spain (Cambridge University Press). She has written numerous articles and lectured widely on Spanish art in the early modern era, and, as a member of the Centro de Estudios de Europa Hispánica (Madrid) is currently cataloguing the Spanish drawings in the collection of the Courtauld Institute, and working on the reconstruction of William Stirling-Maxwell’s drawings collection.
Laura Veneskey was a PhD candidate at Northwestern University. Her research investigated the circulation of sacred sites through portable artifacts between Late Antiquity and the Middle Byzantine period. It was particularly concerned with the varying methods through which sacred place was evoked, recreated, and reused in disparate contexts, engendering sanctity in new locations and forging networks of power throughout the medieval Mediterranean. She wasworking on a translation and commentary of a portion of the Patriarch Nikephoros' Refutatio et eversio.
Aurélie Verdier was a PhD candidate at the Ecole des Hautes Etudes en Sciences Sociales (Paris) and a curator. Her thesis was entitled 'Francis Picabia, Avant-Gardism and Ego Politics', and focused on how an 'empty' subjectivity transformed modernism during the teens. In 2008-09, she was working on expressions of identity in the avant-garde, specifically portraiture and the name. She worked on related themes for several years and has published regularly in Les Cahiers du Musée national d'art moderne ('Ego Dada', Summer 2004; 'La Fabrique du silence. Mythologie et mise en scène chez Marcel Duchamp', Spring 2006) and has published an introduction book to Dada in 2005 (Flammarion). She was the recipient of the Henri Focillon Fellowship at Yale University (Autumn 2006).
Rose Walker is a specialist in medieval Spanish art. She was working on a project that focuses on the interaction between culture and landscape. The British Academy funded four field trips that constituted the first phase of this project. Each trip took one of the principal Roman roads that crossed the Iberian peninsula seeking alternative narratives to 'the pilgrimage route' and 'the re-conquest'. These narratives were revealed through diversions, detours and changes of direction that together demonstrated a new sense of belonging amongst the people who settled and built on new and old sites. A photographic record of the routes and of the art and architecture that defined them was an important part of the project.
Giles Waterfield is an independent curator and writer, Associate Scholar at the Courtauld Institute of Art and Director of Royal Collection Studies. He taught the Courtauld's M.A. in the History and Theory of The Art Museum, and has worked as Head of Education at the Royal Pavilion, Art Gallery and Museums and as Director of Dulwich Picture Gallery from 1979 to 1996. He was joint curator of the exhibition Art Treasures of England at the Royal Academy of Arts in 1998, In Celebration: The Art of the Country House at the Tate Gallery in 1998 and Below Stairs, National Portrait Galleries, London and Edinburgh, in 2003-4. He is an authority on the history of museums and his publications include: Palaces of Art, Art for the People and Soane and Death, as well as three novels. He is a member of the Advisory Committee of the Paul Mellon Centre for Studies in British Art, a Vice-President of NADFAS and Trustee of Charleston, Sussex.
Rachel Wells was a Henry Moore Foundation Post-Doctoral Research Fellow. She was extending her PhD thesis on scale in contemporary sculpture in order to publish this research. Evaluating the relationship between Postmodernism and the trend of enlargements, miniaturisations and life-size sculptures made since the 1990s, the research also encompassed the photographic reproduction of this work.
Catherine Yvard started at the Courtauld in 2008 working as Project Officer on the Survey of Gothic Ivories. Until then, she was cataloguing medieval and Renaissance manuscripts for the online Catalogue of Illuminated Manuscripts at the British Library, and had worked previously on the medieval manuscripts collections at the Bodleian Library in Oxford and the Chester Beatty Library in Dublin. She has taught several courses on illuminated manuscripts in the late Middle Ages at Trinity College, Dublin and University College, Dublin. Her publications include ‘The Glenstal Prayer Book’, in Art and Devotion in Medieval Ireland, (Dublin, 2006), pp. 98-120, and 'Un livre d'heures inédit à la Chester Beatty Library de Dublin', in Art de l'enluminure, 19 (Dec. 2006-Feb. 2007), pp. 2-65. She specialises in the study of late-medieval Books of Hours and is particularly interested in the transition from manuscript to printed, and in the transmission of patterns through time and space. She was then turning her attention to ivories, as she was to be working closely with them over the next few years.