Programs

Center 42

During the academic year, the Center organizes scholarly meetings that range in size and duration from multiday gatherings and individual lectures with audiences to small roundtable discussions. All programs for the fall term were held virtually. In the spring term, we transitioned to in-person, livestreamed programs when possible.

Public Programs

October 1, 2021

Fragments and Frameworks: Illuminated Manuscripts and Illustrated Books in Digital Humanities

Matthew J. Westerby, Ginger Hammer, and Michelle Facini studying works from the Rosenwald Collection in the National Gallery’s Print Study Room, July 2021

Organized by Matthew J. Westerby, Robert H. Smith Postdoctoral Research Associate
Virtual program

The study of art history has long dealt with fragments and processes of fragmentation. Illuminated manuscripts and illustrated books in particular may have their fragments and folia fugitiva—pieces of material—separated from a whole collection or corpus. Many thousands of drawings and miniatures are dispersed around the world, including those donated to the National Gallery of Art by Lessing J. Rosenwald.

The adoption of open-access online collections has enabled new avenues for study. Open digital frameworks promise to bring new data and new attention to these objects and to ask critical questions about their provenance and conservation.

This conference discussed fragments and frameworks, actual and conceptual, in art history, and addressed emerging questions in the digital humanities. What kinds of afterlives are incurred by processes of fragmentation and cutting? How does the concept of the frame or framework inform the study of illuminated manuscripts and illustrated books? How does the concept of (digital) remediation inform our approach to these works?

Morning Session
Steven Nelson, Center for Advanced Study in the Visual Arts
Welcome

Matthew J. Westerby, Center for Advanced Study in the Visual Arts
Moderator

Catherine Yvard, Victoria and Albert Museum
Framing the Gaze: Some Thoughts on Illuminated Manuscripts and Cuttings

Cristina Dondi, Lincoln College, University of Oxford, and Secretary of CERL
Books as Fragments of Libraries—Illustrations as Fragments of Books: A Digital Illustrated Census of Dante’s Comedia (1481)

John K. Delaney and Michelle Facini, National Gallery of Art
Collaborative Technical Study and a Machine Learning Future for Illuminated Manuscripts

Bryan Keene, Riverside City College
Encompassing the Globe: Digital Scholarship and Virtual Reconstructions of Illuminated Manuscripts

Afternoon Session
Peter M. Lukehart, Center for Advanced Study in the Visual Arts
Welcome and introduction; moderator

Lisa Fagin Davis, Medieval Academy of America
Medieval Fragments and Modern Fragmentology

LauraLee Brott, University of Wisconsin–Madison
The Materiality of Medieval Maps in the Age of Digital Discovery

Heather Bamford, George Washington University
Out of Practice, Uncertain Cultures

Matthew J. Westerby, Center for Advanced Study in the Visual Arts
Frameworks for Fragments: The Digital Lives of Miniatures

November 5, 2021

Sydney J. Freedberg Lecture on Italian Art

Babette Bohn with Lavinia Fontana’s Portrait of a Noblewoman (c. 1580) at the National Gallery, on temporary loan from the National Museum of Women in the Arts, November 2021

“More perfect and excellent than men”: The Women Artists of Bologna
Babette Bohn, Texas Christian University
Virtual program

Early modern Bologna was exceptional for its many talented women artists. Thanks to a long-standing tradition of honoring accomplished women, several attentive artistic biographers, strong local interest in collecting women’s work, and permissive attitudes toward women studying with male artists who were not family members, Bologna was home to more women artists than any other city in early modern Italy. Bolognese women artists were unusual not only for their large numbers but also for their varied specializations and frequent public success. They painted altarpieces, nudes, mythologies, allegories, portraits, and self-portraits, creating sculptures, drawings, prints, embroidery, and paintings. This lecture challenged some common assumptions about women artists, suggesting productive approaches for future research.

Watch Listen

December 3, 2021

Wyeth Lecture in American Art

Video still from the Wyeth Lecture in American Art, released December 2021

Prioritizing Indigenous Communities and Voices: Curating in This Time
Patricia Marroquin Norby, The Metropolitan Museum of Art
Virtual program

This lecture by Patricia Marroquin Norby (Purépecha) focused on her forthcoming book Water, Bones, and Bombs and her curatorial practices that affirm Indigenous representations. She shared her vision for and approaches to collecting, presenting, and interpreting Native American art at the Metropolitan Museum of Art and beyond. In September 2020, Dr. Norby made history with her appointment at the Met, becoming the first full-time curator of Native American art in the museum’s 150-year history. Since then Dr. Norby has broken institutional barriers by engaging bold, refreshing, community-centered approaches that foreground Indigenous voices and experiences within the Met’s collections, exhibitions, and programs. Dr. Norby previously served as senior executive and assistant director of the National Museum of the American Indian in New York and as director of the D’Arcy McNickle Center for American Indian and Indigenous Studies at the Newberry in Chicago.

Watch Listen

March 4–5, 2022

Middle Atlantic Symposium in the History of Art

52nd Annual Sessions
Cosponsored with the Department of Art History and Archaeology, University of Maryland
University of Maryland / West Building Lecture Hall and livestreamed

Friday, March 4
Evening Session
Mabel O. Wilson, Columbia University
George Levitine Lecture in Art History
Spaces in the Shadows: The Archives and Architectures in the Work of Carrie Mae Weems

Saturday, March 5
Morning Session
Steven Nelson, Center for Advanced Study in the Visual Arts
Moderator

Joseph Kopta, Temple University
Chromatic Networks: Materiality and Materialism of Middle Byzantine Gospel Lectionaries (c. 850–1204 CE)
Introduction: Elizabeth S. Bolman

Amanda Chen, University of Maryland
Transition, Transformation, and the Threshold of the Domus M. Caesi Blandi [VII.1.40] in Pompeii
Introduction: Maryl B. Gensheimer

Jamie Richardson Sandhu, Bryn Mawr College
The Divine Liefhebber: A New Interpretation of Frans Francken the Younger’s Allegory of the Pictura Sacra (c. 1635)
Introduction: Sylvia W. Houghteling

Carolyn Davis, George Washington University
Literacy, Devotion, and Globalism: Enconchado Paintings of St. Anne in Colonial Mexico
Introduction: Barbara von Barghahn

Afternoon Session
Tess Korobkin, University of Maryland
Moderator

Rachel Ozerkevich, University of North Carolina
Class and Leisure Along the Seine: Seurat’s Bathers at Asnières (1884) and Olympic Ideals
Introduction: Tatiana C. String

Meg MacKenzie, American University
The Darkroom as Weapon? Anti-Colonialism and Ethnography in Raoul Ubac’s Penthésilée Photomontages
Introduction: Juliet Bellow

Marica Antonucci, Johns Hopkins University
What’s in a Name? Mario Schifano, Sidney Janis, and the Politics of Style in Postwar Italy
Introduction: Stephen J. Campbell

Eleanore Neumann, University of Virginia
“Who would believe it?”: Maria Graham and the Gendered Representation of Slavery during the Independence of Brazil (1821–1824)
Introduction: Douglas Fordham

March 13, 2022

Conversation and Book Signing with Mary Beard

Kaywin Feldman and Mary Beard in conversation, March 2022

West Building Lecture Hall and livestreamed

A conversation between professor and award-winning author Mary Beard and National Gallery of Art director Kaywin Feldman, followed by a book signing of Beard’s newest publication, Twelve Caesars: Images of Power from the Ancient World to the Modern.

March 20–May 1, 2022

The 71st A. W. Mellon Lectures in the Fine Arts

Richard J. Powell

Colorstruck! Painting, Pigment, Affect
Richard J. Powell, Duke University
West Building Lecture Hall and livestreamed

Richard J. Powell explored the concept of “colorstruck,” a 20th-century term addressing prejudice against people with darker complexions, in the 71st annual A. W. Mellon Lectures in the Fine Arts. The six-part series examined how colors—chromatic interactions in paintings and the sociocultural dynamics of race—collide in unanticipated ways.

Color does more than capture the viewer’s attention; it assaults one’s equilibrium, physically and socially. Using blue, green, yellow, orange, black, red, brown, and their combinations as points of departure, Powell traced the visual and conceptual pathways of particular palettes. Through close looking at works by Nina Chanel Abney, Jean-Michel Basquiat, Sam Gilliam, Jacob Lawrence, Raymond Saunders, and Alma Thomas—painters for whom hue and pigmentation carry diverse associations—Powell’s lectures revealed how color can strike a chord for freedom and reclamation in art and life.

The lectures were held on the dates below. Videos of the lectures were posted online in summer 2022.

March 20: Colorstruck! Painting, Pigment, Affect
March 27: Jacob Lawrence’s Viridian
April 3: Yellow, Orange Glow
April 10: Red Combustion, Blue Alchemy
April 24: Chromatic Dispatches: Télémaque, Basquiat
May 1: The Bronze Thrill

Watch

April 8, 2022

James A. Porter Colloquium on African American Art and Art of the African Diaspora

Fearless Endeavors: Daring Art History Methodologies and Art Practices
Cosponsored with Howard University
Virtual program

The 32nd annual James A. Porter Colloquium considered how fearlessness has advanced African American art and art of the African Diaspora.

Program
Sarah Lewis, Harvard University
Opening Lecture
Black Art and the Groundwork of Art History

Alvia Wardlaw, University Museum at Texas Southern University
Curatorial Conversation

Huey Copeland, Center for Advanced Study in the Visual Arts
James A. Porter Distinguished Lecture
Conditions Reporting

Bisa Butler, Chicago
Floyd Coleman Lecture
Bisa Butler: Quilts and Inheritance

Betye Saar, Lillian Thomas Burwell, and Stephanie Sparling Williams
Award Recognition

May 12, 2022

Edmond J. Safra Lecture

Art Writing and Opacity
Aruna D’Souza, Edmond J. Safra Visiting Professor, spring 2022
West Building Lecture Hall and livestreamed

In this lecture, Aruna D’Souza considered fundamental questions about the power dynamics inherent in writing about art. How might art historians and critics write about the art of others—of artists who are dealing with histories of and creating work for racialized, minoritized, or colonized communities of which one might not be a part—without resorting to extractive models of writing? How might one pursue curiosities without treading on what poet and theorist Édouard Glissant calls “the right to opacity” of our objects of study? D’Souza’s talk drew on lessons from artists and writers who challenge us to sit with silence, secrecy, and invisibility.

Programs By Invitation

June 1–4 and 7, 2021

A. W. Mellon Predoctoral Seminar

Reading Atmospherically: Black Studies, Critical Theory, and Their Legacies
Organized by Ellen Tani, A. W. Mellon Postdoctoral Fellow, 2020–2022
Virtual program

Each year, a Center postdoctoral fellow designs and directs an intensive weeklong seminar for the predoctoral fellows in residence.

This seminar offered both an introduction to and engagement with texts from Black Studies and explores how its generative legacy—long considered extrinsic to the work of art history (with the exception of African American art)—offers creative reframings for our work as scholars, teachers, and institution builders. Recent texts in Black Studies reconsider fundamental ideas, from physics and atmospheric conditions to coasts and sounds. These models of speculative and provisional inquiry explore furtive and radical pathways through the structuring logics of Western enlightenment and modernist thought. How can we expand the tools at our disposal to resolve some fundamental contradictions of the field, such as its reckoning with its colonial past and the broader Enlightenment project through which it arose? And can we interrogate the foundational grammar of art-historical study at the same time?

Participants
Thadeus Dowad, Paul Mellon Fellow, 2018–2021
Susan Eberhard, Andrew W. Mellon Fellow, 2019–2021
Ziliang Liu, Ittleson Fellow, 2019–2021
Andrew Sears, David E. Finley Fellow, 2018–2021
Kimia Shahi, Wyeth Fellow, 2019–2021
Johanna Sluiter, Twenty-Four-Month Chester Dale Fellow, 2019–2021
Teresa Soley, Samuel H. Kress Fellow, 2019–2021

November 8, 2021

Sydney J. Freedberg Lecture on Italian Art Incontro

Investigating the Women Artists of Early Modern Italy: Methods, Provocations, and Challenges
Babette Bohn, Texas Christian University
Virtual program

This discussion explored some of the methods and challenges pertinent to the study of early modern women artists in Italy. One example is archival research, which is essential and often fruitful, but can also be frustrating and incomplete given the discriminatory selectivity of the historical record. Investigations of patronage, critical language, social and economic circumstances, criteria for determining authorship, and the pervasiveness of lost works all create challenges for scholars. Can some combination of useful strategies mitigate these issues?

November 19, 2021, and May 19–20, 2022

Art Academies: Europe and the Americas, c. 1600–1900

Organized by Peter M. Lukehart, Associate Dean, and Ulrich Pfisterer (Zentralinstitut für Kunstgeschichte, Munich), with Oscar E. Vázquez (University of Illinois at Urbana-Champaign)
November 19: Virtual program
May 19–20: Munich

These seminars brought together specialists of the academies and schools of art of the 17th through 19th centuries in both Europe and the Americas. In recent decades, art-historical scholarship on artists’ training has focused on the intersectionality, global entanglements, and sociocultural significance and political contexts of the production, distribution, reception, display, and performance of objects, images, and their histories. Yet, research that takes a comparative analysis of the definitions, functions, and differing contexts of institutions of arts training has been almost completely absent.

The Art Academies seminars aimed to make a significant contribution in this direction. Examining academies of art and arts organizations in both Europe and the Americas, the program sought to evaluate the ideological and material differences among and within academies. It did so in order to highlight the specific academic dissonances that counter the chorus of publications that either drown out the individual contributions of local institutions or, contrarily, remain silent about the possibility of other—often outside—models. The differences afford us a more nuanced and complex understanding concerning academies that were in fact adapted and shaped as much by local concerns and needs as by international trends across time and oceans.

Participants
Buket Altinoba, Institut für Kunstgeschichte, Ludwig-Maximilians-Universität München
María Isabel Baldasarre, Ministerio de Cultura de la Nación, Buenos Aires
Émilie Beck Saiello, Centre Norbert Elias, EHESS/CNRS/Avignon Université/Aix-Marseille Université
Pablo Berríos González, Santiago, Chile
David Brigham, Historical Society of Pennsylvania
Carolina Brook, Rome, Italy
Paul Duro, University of Rochester
Ray Hernández-Durán, University of New Mexico
Jongwoo Jeremy Kim, Carnegie Mellon University
Peter M. Lukehart, Center for Advanced Study in the Visual Arts
Esperanza Navarrete Martínez, Real Academia de Bellas Artes de San Fernando, Madrid
César Peña, Universidad de los Andes, Bogotá
Trinidad Pérez Arias, Universidad Andina Simón Bolivar, Quito
Ulrich Pfisterer, Zentralinstitut für Kunstgeschichte, Munich
Christiane Salge, Technische Universität Darmstadt
Vita Segreto, Accademia di Belle Arti di Roma
Ursula Ströbele, Zentralinstitut für Kunstgeschichte, Munich
Oscar E. Vázquez, University of Illinois at Urbana-Champaign
Daryle Williams, University of California, Riverside

December 6, 2021

Wyeth Lecture in American Art Incontro

Curating Now: Understanding Indigenous Perspectives, Foregrounding Indigenous Voices
Patricia Marroquin Norby, The Metropolitan Museum of Art
Virtual program

Patricia Marroquin Norby (Purépecha) discussed the lives and careers of Tewa artists Tonita Peña (San Ildefonso/Cochiti) and Helen Hardin (Santa Clara). She shared her curatorial practices that affirm Indigenous representations and voices at the Metropolitan Museum of Art and her vision for collecting, presenting, and interpreting Native American art.

April 4, 2022

A. W. Mellon Lectures in the Fine Arts Incontro

Richard J. Powell, Duke University
71st A. W. Mellon Lecturer in the Fine Arts
Virtual program

A discussion of the 2022 A. W. Mellon Lectures in the Fine Arts, Colorstruck! Painting, Pigment, Affect.

April 21–August 18, 2022

Book Proposal Development Program

Organized by Elise Ferone, Center Support Specialist, and Lauren Taylor, Postdoctoral Research Associate
Virtual program

Held virtually, this program centered on securing a book contract and took the form of weekly seminars and biweekly workshopping sessions. Experienced academics and publishing professionals gave presentations and facilitated discussions concerning the conceptual and practical aspects of creating a book proposal based upon a completed dissertation. Workshopping sessions encouraged participants to generate drafts of their proposal, to share peer-to-peer feedback, and to build support networks. The initiative supported the professional development of early career alumni and also facilitated peer engagement across cohort years.

Moderator
Steven Nelson, Center for Advanced Study in the Visual Arts

Speakers
Huey Copeland, Center for Advanced Study in the Visual Arts
Madhuri Desai, The Pennsylvania State University
Eleanor Goodman, The Pennsylvania State University Press
Byron C. Hamann, The Ohio State University
Ken Wissoker, Duke University Press

Participants
Ravinder S. Binning, Kunsthistorisches Institut in Florenz
Rachel E. Boyd, Ashmolean Museum
Alexander Brey, Wellesley College
Alicia Caticha, Northwestern University
Ashley Dimmig, The Walters Art Museum
Valeria Federici, Center for Advanced Study in the Visual Arts
Michele L. Frederick, North Carolina Museum of Art
Nikki Georgopulos, National Gallery of Art
Ximena A. Gómez, University of Massachusetts Amherst
Eric R. Hupe, Lafayette College
Annika Johnson, Joslyn Art Museum
Samuel Luterbacher, Yale University
James Pilgrim, Johns Hopkins University
Miriam K. Said, Center for Advanced Study in the Visual Arts
Michelle Smiley, Rutgers University
Ellen Tani, Center for Advanced Study in the Visual Arts
Lauren Taylor, Center for Advanced Study in the Visual Arts
Matthew J. Westerby, Center for Advanced Study in the Visual Arts
Fulvia Zaninelli, Center for Advanced Study in the Visual Arts

May 13, 2022

Edmond J. Safra Colloquy

The Anarchival Impulse
Organized by Aruna D’Souza, Edmond J. Safra Visiting Professor, spring 2022, and Anthony Elms (Philadelphia)
In-person program

Participants
Raven Chacon, Red Hook, NY
Rhea L. Combs, National Portrait Gallery, Smithsonian Institution
Lynne Cooke, National Gallery of Art
Huey Copeland, Center for Advanced Study in the Visual Arts
Marissa Del Toro, New Haven, CT
Molly Donovan, National Gallery of Art
Aruna D’Souza, Center for Advanced Study in the Visual Arts
Anthony Elms, Philadelphia
Kanitra Fletcher, National Gallery of Art
Candice Hopkins, Red Hook, NY
Paul B. Jaskot, Duke University
Peter M. Lukehart, Center for Advanced Study in the Visual Arts
Steven Nelson, Center for Advanced Study in the Visual Arts
Jennifer Stager, Johns Hopkins University
Lowery Stokes Sims, Center for Advanced Study in the Visual Arts
Hilary Whitham Sánchez, Center for Advanced Study in the Visual Arts
Kandis Williams, Studio Kandis Williams/Cassandra Press

May 25, 2022

Traveling Research Seminar on Afro-Latin American Art Study Day

In conjunction with the exhibition Afro-Atlantic Histories
In-person program

In conjunction with the National Gallery’s curatorial division, the Center hosted Harvard University’s Traveling Research Seminar on Afro-Latin American Art for a daylong visit centering on the exhibition Afro-Atlantic Histories. The study day featured a panel discussion with the National Gallery’s curatorial team.

Participants
Kleber Amancio, Universidade Federal do Recôncavo da Bahia, Cruz das Almas
Nohora Arrieta Fernández, Georgetown University
Vivian Braga dos Santos, Institut national d’histoire de l’art, Paris
Kency Cornejo, University of New Mexico
Molly Donovan, National Gallery of Art
Kanitra Fletcher, National Gallery of Art
Tatiana Flores, Rutgers, The State University of New Jersey
Cary Aileen García Yero, Harvard University
María de Lourdes Ghidoli, Grupo de Estudios Afrolatinoamericanos, Universidad de Buenos Aires
Andrew Hamilton, The Art Institute of Chicago
Eva Lamborghini, Universidad de Buenos Aires
Ada Elena Lescay González, Universidad de Oriente, Santiago de Cuba
Tadeu Mourão dos Santos Lopes, Instituto Federal de São Paulo
Steven Nelson, Center for Advanced Study in the Visual Arts
Elena O’Neill, Universidad Católica del Uruguay, Montevideo
E. Carmen Ramos, National Gallery of Art
Juliana Ribeiro da Silva Bevilacqua, Queen’s University, Kingston
Melanie White, Brown University

Discussion Groups

December 2021–May 2022

Digital Humanities

Coordinated by Matthew J. Westerby, Robert H. Smith Postdoctoral Research Associate; Lauren Taylor, Postdoctoral Research Associate; and Christopher J. Nygren, Samuel H. Kress Senior Fellow
Virtual and in-person program

What have you done, or what would you like to do, adjacent to the digital humanities? What is digital art history and what are the current debates? This informal discussion group gathered monthly to discuss questions in this realm and to share digital projects and tools.

December 2021–May 2022

Labor and the Silence of the Archive

Coordinated by Christopher J. Nygren, Samuel H. Kress Senior Fellow, and Isabella Lores-Chavez, Samuel H. Kress Fellow
In-person program

In their pursuit of understanding a work of art, art historians tend to focus on the activity of a single author. The historical record—both textual and material—is much quieter about the constellation of actors whose labor in myriad ways contributes to artistic creation. This reading group discussed and explored various strategies to compensate for silences surrounding labor in traditional archives. At monthly meetings anchored in one or two secondary sources, the group drew inspiration from existing models for narrativizing the experience of anonymous or lesser-known figures and proposed possible future approaches to this expanded view of artistic labor.

January 13 and March 17, 2022

Narrating Art History

Coordinated by Huey Copeland, Andrew W. Mellon Professor, and Lauren Taylor, Postdoctoral Research Associate
Virtual program

This group was devoted to discussing the multiplicity of creative approaches through which one can narrate art history.

Fellows’ Presentations

Colloquia, presented by the senior members of the Center, and shoptalks, given by the postdoctoral fellows, predoctoral fellows, and guest scholars, occur throughout the academic year and are by invitation. Unless otherwise indicated, all talks were held virtually.

Colloquia CCCXXVI–CCCXXXIV

October 14, 2021
Lowery Stokes Sims, Kress-Beinecke Professor
Painting the Black Body: Praxis and Theory, 2010–2020

November 4, 2021
Jeffrey Moser, Paul Mellon Senior Fellow
The Empty Tomb: Moral Depth in a Medieval Chinese Cemetery

December 2, 2021
Kathleen James-Chakraborty, Ailsa Mellon Bruce Senior Fellow
Expanding Agency: Women and Modern American Architecture and Design

January 6, 2022
Juliet Koss, Ailsa Mellon Bruce Senior Fellow
Model Utopia

February 24, 2022
Fabio Barry, Samuel H. Kress Senior Fellow
Why Oval Churches?

March 3, 2022
Christopher J. Nygren, Samuel H. Kress Senior Fellow
Shards of the New World: Painting on Obsidian and the Ecologies of Early Modern Art*

March 17, 2022
Kaira M. Cabañas, William C. Seitz Senior Fellow
Deviant Art Histories

March 24, 2022
Shira Brisman, Ailsa Mellon Bruce Senior Fellow
Insidious Silver: German Goldsmiths and Their Craft, 1568–1610*

April 21, 2022
Huey Copeland, Andrew W. Mellon Professor, 2020–2022
Alreadymade: Black Visual Thought, Duchamp’s Fountain, and the Ends of White Art History (circa 2020)*

* held in the West Building Lecture Hall and livestreamed

Shoptalks 252–260

October 21, 2021
Ellen Tani, A. W. Mellon Postdoctoral Fellow, 2020–2022
Black Conceptual Practice in Contemporary Art 

November 1, 2021
Luke A. Fidler, Paul Mellon Fellow
Coercive Form: Sculptural Politics and Medieval Subjects

November 15, 2021
Rachel Catherine Patt, David E. Finley Fellow
Yearning through Gilt Glass: Pothos, Memory, and Materiality in the Ancient Mediterranean

December 9, 2021
Isabella Lores-Chavez, Samuel H. Kress Fellow
To Touch and Turn: The Plaster Cast and the Draftsman’s (Time)line

January 24, 2022
Mohit Manohar, Andrew W. Mellon Fellow
Delhi Reinterpreted: The Making of Daulatabad in the Early 14th Century

February 7, 2022
Christine Garnier, Wyeth Fellow
Slender Maker’s Silverscapes: Mutable Currencies, Mobile Adornments

March 10, 2022
Catherine H. Popovici, Ittleson Fellow
Stelae on the Edge: Landscape and Power in Seventh-Century Copán

April 7, 2022
Erhan Tamur, Twenty-Four-Month Chester Dale Fellow
Site-Worlds: The Statues of Gudea Across Time and Space

April 14, 2022
Nisa Ari, Beinecke Postdoctoral Fellow, 2021–2023
Wasteland, Promised Land, Homeland: Painting Flora Palaestina Before the Nakba

Christopher J. Nygren presents the Center’s first in-person colloquium since February 2020 on March 3, 2022

Next Chapter: Publications