Art History and Visual Culture Program Faculty

Education: B.A., University of California, Los Angeles; M.A., Institute of Fine Arts, New York University; Ph.D., The Graduate Center, City University of New York.

Education:
B.A., Tufts University; M.A., MPhil., Ph.D., Columbia University

Areas of Interest:
Primary field: Western Medieval Art, in particular Gothic Art and Architecture in Germany; Secondary field: Islamic Art. Professor Boivin’s research focuses on the dynamic interactions between figural art, architecture, and human activity.  She is interested in the spatiality of Late Medieval churches, in the diverse functions of architectural space, and in the ability of artistic ensembles to shape human experience.  Her current book project investigates architectural sites of passage and projection.
Selected Awards and Fellowships:
VISTAS Digital Project Grant (2020); NEH Summer Stipend (2017); Samuel H. Kress Foundation Art History Grant (2017); Deutsche Forschungsgemeinschaft Grant (2017); ICMA-Kress Research Grant (2017); Post Doctoral Fellowship, Université de Montréal (2012-13); SAH Rosann S. Berry Conference Fellowship (2013); Fulbright Research Grant, Germany (2011-2012); British Archaeological Association Conference Travel Grant (2012); DAAD Research Grant, Germany (2011).
Selected Publications:
Books and Edited Volumes
Boivin, Riemenschneider in Rothenburg: Sacred Space and Civic Identity in the Late Medieval City (Penn State University Press, 2021).
Boivin & Bryda (eds), Riemenschneider in Situ (Brepols, 2021).
Articles and Chapters
Boivin, “Two-Story Charnel-House Chapels and the Centrality of Death in the Medieval City,” in Picturing Death 1200-1600, eds Stephen Perkinson and Noa Turel (Brill, 2020), pp. 79–103.

Boivin, “The Visual Arts” in A Cultural History of the Emotions in the Medieval Age (350-1300), eds Juanita Ruys and Clare Monagle (Bloomsbury, 2018), pp. 83–99.

Boivin, “Holy Blood, Holy Cross: Dynamic Interactions in the Parochial Complex of Rothenburg” The Art Bulletin 99, no. 2 (2017), pp. 41–71.

Boivin, “The Chancel Passageways of Norwich,” in Norwich: Medieval and Early Modern Art, Architecture and Archaeology. eds T.A. Heslop and Helen E. Lunnon. British Archaeological Association Conference Transactions, vol. 38 (Maney Publishing, 2015), pp. 307–323.

Dr. Chen specializes in the art and archaeology of the
globally-connected Roman world, and is committed to exploring how low-barrier Linked Open
Useable Data (LOUD) can be harnessed not only to provide more equitable access to
archaeological data in the digital realm, but also to empower stakeholder audiences as
collaborative curators. She is the founder and co-director of the NEH-funded International
Digital Dura-Europos Archive (IDEA), an archaeological data accessibility project whose
documentation efforts are aimed at sharing-out workflows that help to overcome disciplinary
data silos and work to dislodge enduring impacts of colonialism. Thanks to her work on IDEA,
her role as the Co-Chair and Annotations Activity co-coordinator for the international Pelagios
Network, and time spent as a fellow in the Department of the Ancient Near East at the
Metropolitan Museum of Art in New York, Dr. Chen has extensive experience working with
GLAM professionals and collections. Additionally, she has published on Roman, Persian, and
Digital Humanities topics, and taught equally wide-ranging coursework. She also serves as an
historical consultant for the Virtual Center for Late Antiquity (VCLA).

Education:
B.S., M.A., Illinois State University; M.A. Ph.D., Princeton University.

Awards and Honors:
National Endowment for the Humanities summer stipend (2012 and 2000); The Franklin Research Grant from the American Philosophical Society (2012); Model/Blum Fellow, National Gallery of Canada (1995); Fowler-McCormick Research Fellowship, Princeton University (1993).

Current publishing projects: “Amateur vs. amateur: Photography and the [D]evolution of a Gentleman’s Art”; “‘Art’s Mortal Enemy’: Baudelaire, Photography, and the Ruin of French Taste.”

Books: Stephen Shore: The Hudson Valley (Blindspot Editions, 2011); Victor Regnault and the Advance of Photography: The Art of Avoiding Errors (Princeton Univ. Press 2005); Larry Fink 55 (Phaidon, 2005).

Selected other publications: “At Home with the Camera: Modeling Masculinity in Early French Photography,” in Interior Portraiture and Masculine Identity in France, 1789-1914 (Belnap-Jensen, et al., Ashgate, 2011); Contributor, Impressionism and the Ecology of Landscape, Stephen Eisenman, ed., Complesso del Vittoriano, 2010; Contributor, Encyclopedia of Nineteenth-Century Photography, John Hannavy, ed., Routledge, 2007. Critic, Aperture Magazine, 2004-present.

Selected public presentations: The Royal Museums of Fine Art, Belgium (2012); Concordia University (2010); Western Society for French History (2008); Princeton University (2007); Hermitage Museum, St. Petersburg, Russia (2005); Bibliotheque Nationale de France (2004); Brooklyn Museum of Art (2002); Aarhus University, Aarhus, Denmark (2001).

Patricia Eichenbaum Karetzky is the Oskar Munsterberg Chair of Asian Art at Bard College, New York and Adjunct Professor at Lehman College, City College of New York. She has dual interests in contemporary and medieval Chinese art. She was the editor of the Journal of Chinese Religions for over 5 years and published several books and articles on medieval Chinese religious art and numerous articles on contemporary art in such journals as Yishu, the Journal of Contemporary Art, and Paradoxa n. She has also curated exhibitions and written catalogues on Chinese contemporary art. For more information see the website www.karetzky.com.

At Bard since 1988.
Phone: 845-758-7247
E-mail: [email protected]

Karetzky Publications 2014-15

Book

• Making Sense of Buddhist Art & Architecture
  London: Thames & Hudson, May 2015
• Chinese Religious Art Maryland: Lexington Press, 2014

Articles

• “The Transformations of Xuanwu/Zhenwu”
  Journal of Daoist Studies, vol. 8 (2015): 69-95
• “The Image of Woman as a Reflection of Change in China”
  Revista de Cultura (Macao), issue 45 (2014): 88-96
• “Xu Bing’s Magical Mystery Tour”
  Yishu Journey of Chinese Contemporary Art, vol. 13, no. 1 (2014): 76-92

Catalogue essay:

• “Educated Youths” Educated Youth: A Fading Living Evidence Tang Desheng Paris Speos, 2014: 12 -52
• Cui Xiuwen, The Realm of QinSe, Eli Klein Gallery NY May 2015

Book Review

• Picturing the True Form: Daoist Visual Culture in Traditional Culture (Shih-shan Susan Huang; Harvard East Asian Monograph, Harvard University Press, 2012)
  Review: Frontiers of History in China; vol. 9, no.1 (2014): 147-149

Curriculum Vitae – Kareztky

Alex Kitnick completed his B.A. at Wesleyan University, attended the Whitney Museum’s Independent Study Program in New York, and received his Ph.D. from the Department of Art & Archaeology at Princeton University in 2010. Before coming to Bard, he taught at Otis College of Art and Design, School of Visual Arts, Vassar College, and UCLA.

His research interests focus on imbrications between art, architecture, design, and media in the postwar period, particularly in the US and England. He has edited a number of books including The Expendable Reader: Articles on Art, Architecture, Design, and Media, 1951-1979, which assembles key writings by the artist and critic John McHale, and an October File on the artist Dan Graham. His scholarly articles have appeared in journals including Art Journal and October, and he is currently preparing a book based on his dissertation for publication. In addition to his work as a scholar, Kitnick is also an active critic of contemporary art, and has published essays and reviews in venues such as Artforum, Fillip, May, Parkett, and Texte zur Kunst.

Kobena Mercer is a British art historian and writer whose scholarship cuts across the fields of art history, Black studies, and cultural studies. He comes to Bard from Yale University, where he was Professor in History and Art and African American Studies and taught courses that examined African American, Caribbean, and Black British artists with critical methods from cultural studies. His groundbreaking first book, Welcome to the Jungle: New Positions in Black Cultural Studies (1994), brought a Black British perspective to cultural forms—ranging from hairstyles and dress to music and photography—that arose from the volatile transformations of the 1980s. He also authored studies of the artists Romare Bearden, Adrian Piper, Isaac Julien, James Van Der Zee, and Rotimi Fani-Kayode. His 2016 essay collection, Travel & See: Black Diaspora Art Practices since the 1980s, addresses the contributions of Black artists to art’s transformation in an age of globalization, covering the years 1992 to 2012. His forthcoming book, Alain Locke and the Visual Arts, will be published by Yale University Press in 2022. Professor Mercer also edited and introduced Stuart Hall’s The Fateful Triangle: Race, Ethnicity, Nation (2017), and was the editor of the Annotating Art’s Histories series of anthologies, published by MIT Press, which included the titles Cosmopolitan Modernisms (2005), Discrepant Abstraction (2006), Pop Art and Vernacular Cultures (2007), and Exiles, Diasporas & Strangers (2008). He has also contributed to exhibition catalogues for Wilfredo Lam at Centre Pompidou, Frank Bowling at Haus der Kunst, and Adrian Piper at New York’s Museum of Modern Art, among others. Mercer has also taught at New York University; University of California Santa Cruz; and Goldsmiths College, University of London, where he earned his PhD. Additional areas of interest include psychoanalysis, gender and sexuality, queer studies, photography, and globalization.

BA, Saint Martin’s School of Art; PhD, Goldsmiths, University of London. At Bard since 2021.
 

Harvard University
Ph.D.  Department of History of Art and Architecture  2002

Select Fellowships
Mellon Conservation Fellowship, Harvard University Art Museums (2002-2003)
|Center for Advanced Studies in the Visual Arts, National Gallery, Washington -Clarice and Robert Smith Fellow (1999-2000)
Belgian American Educational Foundation Dissertation Research Fellowship (1997-1998)

Select Publications

Seventeenth-Century Flemish Garland Paintings: Still Life, Vision, and the Devotional Image (2012)

Inventing the Animal in Early Modern Europe  (book manuscript in progress)

“The Garland Pictures’ Reception in Seventeenth-Century Flanders and Italy,” Domestic and Institutional Interiors in Early Modern Europe, ed.
Sandra Cavallo and Silvia Evangelisti. (Aldershot, Hampshire, and Burlington VT: Ashgate Press, 2009)

Julia B. Rosenbaum specializes in American visual material with interests in public sculpture; art and science/medicine; environmental art; and issues interrelating visual imagery with political identity. Her work has appeared in journals such as American Art and Nineteenth-Century Art Worldwide. She is the author of Visions of Belonging: New England Art and the Making of American Identity (2006) and co-editor of The American Bourgeoisie: Distinction and Identity in the Nineteenth Century (2010); Frederic Church’s Olana on the Hudson: Art / Landscape / Architecture (2018, winner of the Victorian Society in America 2019 Book Award); and Cartographic Expeditions and Visual Culture in the Nineteenth-Century Americas (2021). Her latest book project examines notions of the body and ableism in the late nineteenth and early twentieth-centuries and is titled Unruly Bodies?: Portraying Science and Citizenry in Post-Civil War America.

Her curatorial work includes Fans (The Fitzwilliam Museum); Cross Pollination: Heade, Cole, Church, and Our Contemporary Moment (Olana State Historic Site and Thomas Cole National Historic Site, Cummer Museum, Reynolda House Museum, Crystal Bridges Museum); and Not Just One Thing (Wilderstein Historic Site), and she has served as Director of Research and Publications at The Olana Partnership.

Her research has been supported by the Smithsonian Institution, the National Endowment for the Humanities, the American Council for Learned Societies, and the Terra Foundation for American Art, among others.

Education:
B.A. Yale University; Ph.D., University of Pennsylvania

Heeryoon Shin specializes in the art, architecture, and material culture of South Asia, with a particular focus on early modern and colonial India. Her current book project, tentatively titled Temples Between Empires: Architectural Encounters in Banaras, ca. 1750-1850, explores architectural revival, cross-cultural exchange, and historiography during the fraught moments of transition between the Mughal and British empires through the lens of temple architecture in the Hindu pilgrimage city of Banaras. Her work on temple architecture is part of a larger interest in the complexity of global and local exchanges fostered by travel, trade, and colonialism, and she is currently developing a second project on the global circulation of blue-and-white ceramics and their interaction with the local production and use in South Asia. Her research has been supported by the American Council of Learned Societies, Samsung Scholarship Foundation, and the Paul Mellon Centre for Studies in British Art, and published in Artibus Asiae and Journal 18.
 
Shin holds a PhD in History of Art from Yale University. She also has secondary training in East Asian art from Seoul National University in South Korea, where she received her BA and completed MA coursework in Art History. Before coming to Bard, she taught at Colorado College, Williams College, and Vanderbilt University.  

Secondary programs: Architecture, Environmental and Urban Studies, Experimental Humanities
Olga Touloumi is Assistant Professor of Architectural History at Bard College. Her research concerns the role of architecture and media in twentieth century forms of liberal internationalism. Her book project The Global Interior: Modern Architecture and Worldmaking in the United Nations concerns the design and building of twentieth century public platforms for multilateralism and international relations. Touloumi has co-edited Sound Modernities: Architecture, Media, and Design, a special issue of The Journal of Architecture that investigates how acoustics and mass media, such as the radio and the telephone, transformed modern architectural culture during the twentieth century; and Computer Architectures: Constructing the Common Ground, 1945-1980 (Routledge, forthcoming 2019), a volume of essays about the exchanges between designers and technologists that shaped computational discourses and practices in European and North American institutions. Her essay “Development Media” is forthcoming with the Aggregate edited volume Systems and the South. She has presented her work internationally and her writing has appeared in numerous journals and edited volumes, among them the Journal of the Society of Architectural Historians, Buildings & Landscapes, Journal of Architecture, and Harvard Design Magazine. She has been a visiting scholar at the Max Planck Institute for the History of Science and her research has been awarded fellowships and research grants from the National Endowment of the Humanities, Bard College, Harvard University, the Alexander S. Onassis Foundation, the Canadian Center for Architecture, and the Propondis Foundation. Touloumi is the co-founder of the Feminist Art and Architectural Collaborative (FAAC) and Board Member of the Center for Critical Studies in Architecture. She holds a PhD from Harvard University, and a Master of Science from MIT. Before arriving at Bard, she has taught architectural history at MIT and at Harvard University.

Education: BA University of California Berkley; PhD NYU Institute of Fine Arts

Areas of interest: Teaching: 20^th century and contemporary art. Research: Woodstock, New York as an art colony and Asian American art.

Selected Curatorial: 
 Konrad Cramer: A Retrospective, Edith C. Blum Institute, Bard College, 1981.
Yasuo Kuniyoshi: Painter/Photographer, Edith C. Blum Institute, Bard College, 1983.
Director, Procter Art Center, Bard College, 1979 – 1995.  Four exhibitions of contemporary art per year.
Co-curator, Byrdcliffe, An American Art Colony, Herbert F. Johnson Museum, Cornell University.
Co-curator. The Maverick Art Colony, Hervey White’s Colony of the Arts, The Woodstock Artists Association and Museum, 2006.
Eva Watson-Schütze:  Photographer, Samuel Dorsky Museum SUNY, New Paltz, 2009.

The Artistic Journey of Yasuo Kuniyoshi, Smithsonian American Art Museum, 2015

Selected Publications:
Writer and narrator, Art/New York, bi-monthly videotape magazine of contemporary art 1982-83.
Woodstock’s Artistic Heritage, Overlook Press, 1987, principal author.
Yasuo Kuniyoshi’s Women, Pomegranate Press, 1993.
“Kuniyoshi in the Early 1920s,” in The Shores of a Dream:  Yasuo Kuniyoshi’s Early Works in America, Amon Carter Museum, 1996.
“The Tip of the Iceberg:  Early Asian-American Artists in New York,” Asian American Art:  A History, 1850-1970, Stanford University Press, 2008.