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 2009-2010 Associate Scholars are listed below.
Elizabeth Bartman is a specialist in Greek and Roman art. While an Associate Scholar at the Courtauld 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.
Jessica Berenbeim was the 2009–11 Kress Fellow at the Courtauld Institute. Her PhD thesis, for Harvard University, concerned the Sherborne Missal (produced c.1400) and the role of documentary literacy and legal consciousness in artistic representation. Her research interests include the history of book production, reading, and literacy; the history and art of monasticism; medieval historiography and conceptions of the past; and the relationship of bureaucracy and institutional history to developments in the visual arts. Publications include: ‘Script after Print: Juan de Yciar and the Art of Writing’ (forthcoming in Word & Image); ‘Milanese Chant in the Monastery?’ (co-authored; in Ambrosiana at Harvard, ed. by Thomas Forrest Kelly and Matthew Mugmon, 2009); and ‘An English Manuscript of the Somme le roi’ (in Cambridge Illuminations, ed. by Stella Panayotova, 2007).
Federico Botana's research focuses on the relationship between visual culture and social practices in the Late Middle Ages. While an Associate Scholar at the Courtauld, he was completing a book on the representation of the Corporal and Spiritual Works of Mercy in medieval Italy, and starting a research project on didactic uses of manuscript illustration in fourteenth- and fifteenth-century Tuscany. In 2009 he was the Research Forum Postdoctoral Fellow and the organiser of ‘Imaging Dogma, Picturing Belief.’ At this conference scholars from the UK, ten European countries, and the United States presented research on late-medieval mural cycles in parish churches and chapels across Europe. Since 2008 Federico has worked at The Courtauld and Birkbeck College as a visiting lecturer on Italian late-medieval and renaissance art. His publications include: ‘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 (Frankfurt, 2006).
Lucy Bradnock completed 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 was appointed coordinator of the Courtauld Research Forum Writing Art History seminar group.
Meredith Brown was a Visiting Lecturer at The Courtauld Institute of Art where she was also a PhD candidate. Her thesis, entitled A History of A.I.R. Gallery: Feminism and the Art Institution, focused on the institutional history of the first women's cooperative gallery in the United States and its impact on the feminist art movement and on other alternative art spaces in 1970s and 1980s America. Her recently published articles include 'Ms. Chicago and the California Girls' and 'Recipes' in The Moon, a publication accompanying the event 'Once More with Feeling' at Tate Modern, 27 June 2009. In 2003 she co-curated an exhibition of Modern and contemporary art at the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University and contributed to its catalogue. Her current research interests include the intersection of feminist politics and pedagogy, representations of labor and bureaucracy, and artistic collaboration.
Zirwat Chowdhury is a Ph.D. candidate in the Department of Art History at Northwestern University. Her dissertation, Anglo-Indian Encounters: British Art and Architecture, 1780-1836 examines landscape paintings, antiquarian studies, caricatures, portraits and architecture. She is especially interested in how the British conceptualisation of Indian architecture emerged from visual encounters with India that hinged on both inter-mediality and the protean nature of British colonial expansion.
Robin Cormack is an eminent Byzantinist; he 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
Charlotte de Mille completed her doctoral thesis ‘Bergson in Britain c. 1890-1914’ in 2009. Research activities include an exploration of the possibilities and limitations of intuition as a method for Art History though the work of Henri Bergson and Virginia Woolf with the Research Forum’s Writing Art History group. With the Research Forum and the RMA, Charlotte was convenor of Music and Modernism, held in May 2009, from which she will be editing a volume of essays. With Public Programmes for The Courtauld Gallery, she co-ordinated a series of lecture-recitals that seek to draw together music and fine art, and has also commissioned new music in conjunction with The Courtauld’s East Wing VIII exhibition of contemporary visual art. Charlotte was Visiting Lecturer for the academic year 2009-2010.
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. She is currently 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 has recently 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 will move to the Casa Buonarroti, Florence, from 15 December to 19 March 2007. Her next project is a book to be called The Urban Face of Renaissance Florence.
Rebecca Farbstein’s research bridges the fields of art history, archaeology, and anthropology to explore the way prehistoric artists made some of the world’s earliest art. This interdisciplinary research investigates fundamental questions about the origins of symbolism and the ways technological innovation, creativity and symbolism intersected in the production of some of the world’s most ancient art. Her research develops a technological and material-based methodology that reconstructs the processes that transform a raw material from its found form into a piece of art. This methodology involves visual assessment of the objects, experimentation with the raw materials, and contextual analysis of other finds and raw materials found at study sites. She previously focused on Upper Palaeolithic art in Central Europe and completed her PhD at Cambridge in 2008. Her previous publications related to this research include: ‘New finds of Upper Paleolithic decorative objects from Predmostí, Czech Republic,’ (with J. Svoboda) in Antiquity, 81(2007); ‘Rethinking constructions of the body in Pavlovian portable art: a material-based approach,’ in Archaeological Review from Cambridge, 21(2006). She is currently co-editing a volume of papers about representation, image and technology. As Caroline Villers Research Fellow for 2009-10, she was studying approximately 400 objects curated at the British Museum. These figurines, excavated from sites in western Europe and dating to between 17-11,000 years before present, present the opportunity to study the convergence of technique and appearance in art found in different contexts and made in distinct raw materials including antler, bone, mammoth ivory and stone.
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. Teresa Gleadowe is now continuing her research into aspects of recent curatorial history and is 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.
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 current research builds on her PhD, which is being prepared for publication in various formats. She was the 2007 Research Forum Fellow at The Courtauld Institute of Art and 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.
Jim Harris is a Visiting Lecturer at The Courtauld and is completing a PhD on the treated surfaces of fifteenth century sculpture, with particular regard to the painted and gilded sculpture of Donatello. His research interests also touch more broadly on sculptural techniques and on the relationship between theology and representation. He is a member of the Sculptural Processes research group and edited immediations The Courtauld Postgraduate Research Journal, for two years. Jim has published on André Beauneveu, Northern polychromed sculpture, Florentine painting and contemporary drawing and was involved with the Public Programmes department at The Courtauld. He was also a Director of the contemporary gallery Man and Eve, where he curated In Place: new collage works by Sarah Bridgland.
Melena Hope completed her PhD, entitled 'Painted Domestic Chapels and Oratories in the Households of Fifteenth-Century France,' at The Courtauld Institute of Art in January 2009. Since 2008 she was the Bob McCarthy Post-Doctoral Fellow, working in collaboration with the Conway Library at The Courtauld. Part of the fellowship was devoted to a research and digitisation project aiming to catalogue and make available over 4,000 images of wall paintings. In addition to her work on this image collection, she undertook two personal research projects which investigate examples of fifteenth-century mural decoration in French chapels. 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. She was a visiting lecturer at The Courtauld (since 2007) and the University of Kent, and has taught at Birkbeck College.
Wendy Ikemoto was the 2009-2011 Terra Foundation for American Art Postdoctoral Fellow at The Courtauld Institute of Art. She completed her PhD in the History of Art and Architecture at Harvard University in Cambridge, Massachusetts in 2009. Her dissertation examined paired, or pendant, painting in the antebellum United States. Ikemoto is working on the book manuscript of her dissertation and developing a study of American art in the Pacific world in the 19th and early-20th centuries. Her article, ‘Putting the “Rip” in “Rip Van Winkle”: Historical Absence in John Quidor’s Pendant Paintings,’ was published in the summer 2009 issue of American Art.
Philippa Kaina is a Visiting Lecturer at The Courtauld Institute of Art and the Department of History of Art and Architecture at the University of Reading. She recently completed her PhD, ‘Between History and Modernity: Negotiating subjectivity in the early work of Edgar Degas, c. 1854-1870,’ at University College London. As well as developing this project for publication in various formats she is also investigating the deployment of seriality and repetition as a key pictorial strategies in Degas’ oeuvre and the connections between the artist’s ‘early’ and ‘late’ work, particularly in relation to his imagery of the female body. Her wider research interests intersect with the broader historical milieu of nineteenth-century French art and visual culture. Key concerns here include: the demise of the academic ideal and its implications for the genre of the nude, the ‘de-militarization’ of the male body together with its implications for masculine subjectivity, and the reception and cultural interpretation of Near and Middle Eastern antiquities in western colonial contexts.
Klara Kemp-Welch is the Leverhulme Early Career Fellow at The Courtauld for 2009-12. She is researching artistic exchange between the countries of the former Soviet ‘bloc’ and former Yugoslavia by initiating a project titled Festivals and Friendships: Networking the ‘bloc.’ The aim of this three year project is to collect and to compare artists’ stories and memories of the years 1956-1991, and to establish how ideas and information were conveyed across borders in the late socialist period. Klara is currently also completing the manuscript of a book titled Not Playing Politics: Anti-Heroism in Central European Art 1965-1989. She has published reviews, articles in journals, and catalogue essays on political aspects of modern and contemporary art. These include studies of work by Tadeusz Kantor, Jerzy Beres, Endre Tót, and Sanja Ivekovic.
Caroline Levitt specialises in French art and literature of the late nineteenth and early twentieth centuries; she completed 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. Her article ‘Screening poetry: Guillaume Apollinaire, André Breton and experimental cinema’ appeared in the 2008 issue of Immediations. Over the next year, Caroline plans to develop interests emerging from her doctoral research, in particular her work on Le Corbusier, which she hopes will form the basis of a book. Other research interests include collaborations between artists, writers and craftsmen and the relationships between literature and sculpture. Caroline is a visiting lecturer at The Courtauld Institute of Art.
A Visiting Lecturer at The Courtauld this year, Ayla Lepine is completing a PhD with Caroline Arscott. Titled ‘Sacred Beauty: George Frederick Bodley’s Designs for Oxford and Cambridge, 1858-1907’, her thesis research investigates points of intersection between the Gothic Revival and Victorian theology. She has lectured widely and currently teaches courses on nineteenth-century architecture and on gender and subjectivity in Victorian painting. In collaboration with Laura Cleaver, she is co-convenor of the Research Forum conference, ‘Gothic and its Legacies’, held in December 2009. Her forthcoming publications explore music and architecture in Victorian Cambridge, and sculpture and the gothic impulse at Washington National Cathedral. She works with Public Programmes at The Courtauld Gallery and is a historic buildings researcher for Donald Insall Associates. Ayla is the curator of Threads of Heaven: Ten Centuries of English Ecclesiastical Textiles, a major exhibition which will take place at St Paul’s Cathedral in autumn 2011.
Francesco Lucchini was the 2010 Research Forum postodoctoral Fellow. He completed his PhD, entitled ‘Objects at Work: a Material and Cultural History of the Reliquaries of St Anthony of Padua in the Basilica del Santo, ca.1231-1448 at The Courtauld in 2009. His interests cover a wide spectrum of medieval artifacts and techniques, including metalwork and material aspects of early Italian painting. Under the aegis of the Research Forum, he is currently organizing a research project on the Material Life of Things which aims to explore the production, manipulation, exchange and consumption of artefacts throughout their life histories. He is also co-organizing an inter-institutional research projects seeking to define the category of the Clever Object as a tool of art-historical interpretation. Forthcoming publications include: ‘Face, Counterface, Counterfeit. The Lost Silver Visage of the Reliquary of St. Anthony’s Jawbone,’ in Meaning in Motion: Semantics of Movement in Medieval Art and Architecture, ed. G. Freni and N. Zchomelidse (Princeton University Press, Forthcoming, 2010); ‘The Making of a Legend. The Reliquary of the Tongue and the Representation of St Anthony of Padua as a Preacher,’ in Franciscan Preaching, ed. T. J. Johnson (Brill, Forthcoming, 2010); ‘Circolazione di reliquie e committenza di reliquiari al Santo nel primo Quattrocento,’ in Cultura arte e committenza al Santo nel Quattrocento, eds. G. Baldissin Molli and L. Bertazzo (Padua, Forthcoming, 2010).
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.
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 is currently 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 pilot project will 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 will provide 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 has recently co-curated an exhibition of paintings by western artists in India from the 17th -20th centuries, which will be touring 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 current projects include 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.
Edward Payne is a Visiting Lecturer at The Courtauld Institute of Art. He is currently completing his PhD thesis entitled ‘Violence and Corporality in the Art of Jusepe de Ribera’, which examines the problematic relationship between the imagery of suffering and the social history of violence in seventeenth-century Naples and Rome. In 2009 Edward held a three-month Rome Award at the British School at Rome, which enabled him to pursue research in the criminal archives at the Archivio di Stato di Roma. In 2008 he co-convened with Scott Nethersole a symposium entitled ‘Histories of Violence: Italy and the Mediterranean c.1300–1700,’ and this year he is co-convening with Hannah Williams the Inaugural Early Modern Symposium, ‘Everyday Objects: Art and Experience in Early Modern Europe’. Additionally, from 2007–08 Edward worked as a Print Room Assistant in The Courtauld Gallery Prints and Drawings Room, and his article ‘Dealing with Art: Pier Francesco Mola’s Caricature of Three Ecclesiastics’, which investigates a drawing from the collection, will be published in the 2009 issue of immediations. His current research interests include seventeenth-century Italian (especially Neapolitan) and Spanish painting, prints and drawings – particularly the work of Caravaggio, Ribera, Rosa and Zurbarán – and the reception of the Spanish School in nineteenth-century Britain and France.
Kathryn Rudy (Kate) specializes in late medieval manuscripts of the Low Countries. She has written articles about the manuscript precedents of Bruegel’s Netherlandish Proverbs; the earliest visual interpretation of the Ghent Altarpiece; illustrated manuscripts for instructing children; words as devotional objects; as well as several articles about medieval pilgrimage both real and imagined, culminating in a book (forthcoming) titled Nuns’ and Religious Women’s Virtual Pilgrimages in the Late Middle Ages. Other recent work includes an investigation of the manuscripts produced at the Franciscan Convent of St. Ursula in Delft. Her three long-term projects concentrate on the reception and original function of manuscripts: she has built a database to reconstruct fifteenth-century manuscripts whose prints have been cut out of them. She has compiled several thousand Middle Dutch rubrics that provide instructions for votaries in front of images for a book provisionally titled The Spiritual Economy of Images: The Performance of Prayer on the Eve of the Reformation in the Low Countries . Thirdly, she has nearly completed a book called The Prayerbook as Talisman in Late Medieval Flanders. At The Courtauld she will quantify grime and patterns of use in medieval manuscripts with the aid of a densitometer in a project called “Dirty Books.” She earned her Ph.D. from Columbia University in Art History, and also holds a Licentiate in Mediaeval Studies from the University of Toronto. She has held research, teaching, and curatorial positions in the US, UK, Canada, the Netherlands and Belgium.
Stephanie Schwartz recently completed a two-year term as the Andrew W. Mellon Postdoctoral Fellow in History and Theory of Photography at Bryn Mawr College. She received her doctoral degree from the Department of Art History and Archaeology at Columbia University in 2007. Her dissertation, The Crime of Cuba: Urbanism, Photography, and the Geopolitics of Americanization, developed an interdisciplinary framework for examining the relationship between modern aesthetic practices and the politics of decolonization. In addition to writing Cuba Per Diem: Walker Evans and American Photographs, a book-length study of Evans’s 1933 Cuba portfolio, Stephanie is developing a new project on contemporary Cuban photography.
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). His current project deals 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.
Mika Takiguchi is associate professor at Meiji University in Tokyo. She completed her PhD, entitled ‘Illuminated Gospel Books and the Perception of the Role of Images in Byzantium,’ at the Courtauld Institute in 2003. Several articles based on her doctoral research have been published or are being prepared for publication in various formats, mainly in Japanese. Mika’s research is currently developing in three inter-connected areas. The first is the subject of her PhD, illuminated manuscripts. Through her doctoral research, she investigated Byzantine Gospel manuscripts in the British Library, and expansion of this study into illuminated manuscripts in lands surrounding Byzantium is planned for coming years. The second area stemmed from her involvement in archaeological excavations in Turkey. She is currently completing a chapter on capitals for a book entitled Research of Early Byzantine Sites in Lycia, Turkey, to be published by Osaka University Press, in which she explores the questions of quarries, ateliers, mass production and transportation, design and iconography of capitals. The last area developed from her interest in the floor mosaics in Byzantine churches, which she investigated in excavation sites in Lycia. Working with this material has led Mika into new areas of research, such as floor mosaics in Italy or in the Middle East and their association with Byzantium.
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 is a PhD candidate at Northwestern University. Her research investigates the circulation of sacred sites through portable artifacts between Late Antiquity and the Middle Byzantine period. It is 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 is also presently working on a translation and commentary of a portion of the Patriarch Nikephoros' Refutatio et eversio.
Rose Walker is a specialist in medieval Spanish art. She is currently working on a project that focuses on the interaction between culture and landscape. The British Academy is funding four field trips that constitute the first phase of this project. Each trip takes one of the principal Roman roads that crossed the Iberian peninsula and seeks alternative narratives to 'the pilgrimage route' and 'the re-conquest'. These narratives are revealed through diversions, detours and changes of direction that together demonstrate 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 is 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.
Hannah Williams is a Visiting Lecturer at the Courtauld Institute of Art. A specialist in French art of the seventeenth and eighteenth centuries, Hannah is currently completing her PhD thesis entitled Portrait of the Artist: An Ethnography of the Paris Académie Royale c.1648-1793, which examines the cultural value of portraits and self-portraits within this institutional community. In 2008-9, Hannah was awarded a twelve-month fellowship in Paris as The Courtauld Pre-Doctoral Fellow at the Centre Allemand de l’Histoire de l’Art, where she undertook archival research on the history of the Académie Royale and its collections. She has published her research in The Courtauld postgraduate research journal, immediations (2007), and has articles forthcoming in the French online journal of the INHA and the EHESS, Images Re-vues (October 2009), and in a book edited by Markus Castor et al (eds.), Re-Invention: Zur Etablierung der Druckgraphik als künstlerisches Medium (Berlin: Deutscher Kunstverlag, 2009). Hannah has presented papers at several conferences in the UK, France and Australia: in 2007, she co-convened with Alister Mill the AAH New Voices Symposium, ‘Art and Memory’ (Courtauld); in 2008, she co-convened with Mary Roberts a session on ‘Self-Portraiture and Representations of the Artist’ at the AAH Annual Conference (Tate Britain); and this year she is co-convening with Edward Payne the Inaugural Early Modern Symposium at The Courtauld, ‘Everyday Objects: Art and Experience in Early Modern Europe.’
Catherine Yvard is currently working as Project Officer on the Gothic Ivories Project, at the Courtauld (2008-2011). She has previously worked on medieval illuminated manuscripts digitisation projects at the British Library in London, the Bodleian Library in Oxford and the Chester Beatty Library in Dublin. She teaches a Summer School at the Courtauld Institute focusing on illuminated manuscripts in the Middle Ages and has taught several courses related to this topic 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 the transmission of patterns through time and space. She is now also turning her attention to ivories, as she will be working closely with them over the next few years