Art History

1986

Professor, art history, The Savannah College of Art and Design; assistant professor, humanities, art history, Johnson State College; visiting lecturer, art history, Miami University; teaching associate, art history, The Ohio State University

Doctoral fellowship, art history, The Ohio State University, 1973-77

Sabbatical, Savannah College of Art and Design, 1992, 1998, 2006; Sabbatical, Johnson State College; doctoral fellowship, art history, The Ohio State University, 1974-77

• "Iris and Morpheus: Investigating Visual Sources for Jerusalem 14." Blake, vol. 17 (Spring, 1984).
• "Clark Stewart's Illustrations for Blake's The Marriage of Heaven and Hell Reviewed." Blake, vol. 11 (Fall, 1977).
• "The Bird-Man of William Blake's Jerusalem. Blake Newsletter, vol. 10 (Fall, 1976).
• Numerous articles: Georgia Guardian/The Chronicle and The Magazine
• Numerous SCAD presentations

"To share a lifelong love of learning."

• ARTH 207 20th-century Art
• ARTH 350 Survey of Women in Art
• ARTH 701 Contemporary Art
• ARTH 702 Art Criticism

Rihab Kassatly Bagnole, Ph.D., holds a doctorate with a concentration on visual art, as well as a graduate certificate in women's studies. She taught at Ohio University and Denison University before joining SCAD.

Ambassador Choice Award, Winter 2011

Association for Middle Eastern Women, College Art Association, Popular Culture and American Culture Association

Publications

• Introduction to 'Isis' in "The Dramatic Literature of Nawal El Saadawi," Saqi 2009.
• Translation of Isis from Arabic to English.
• The Greenwood Encyclopedia of World Popular Culture. Greenwood Press, 2007. Contributed entries on "Music in the Middle East and North Africa", "Love, Sex, and Marriage in the Middle East and North Africa" and "Radio and Television in the Middle East and North Africa."
• "Penelope: Ithaca's Wisdom." Humanitas 25 no. 3 (2002): 25-29.
• "I Like My Freedom of Expression." The Post, Athens, Ohio, Oct. 12 (1995): 2.

Presentations

• "A Show Like No Other: Iraqi Prostitutes in Syrian Nightclubs." WOMEN AND THE 21 CENTURY: FEMINIST ALTERNATIVES in the Session "Body, Sexuality, and the public Space." Cairo, Egypt (Winter Break 2010)
• "No House Left Behind: The Bedouin Tent as a Symbol of Identity." SECAC in the Session "Ephemeral Architecture." chaired by Steve Arbury of Radford University (Fall 2010)
• "From Brioche to Sourdough: The Transformation of Marie Antoinette." SCAD Lacoste, France (Summer 2010)
• "Claiming Power, Making History: The femininity of Madame de Pompadour." SCAD Lacoste, France (Fall 2009)
• "The Role of the Critique in Creative Development and Assessment." Panel.
• Measuring Unique Studies Effectively, SCAD, Savannah, Georgia (2009)
• "Gérôme's 'Almeh' Dancer: An Autochthonous Interpretation." College Art Association Conference, Dallas, Texas (2008).
• "Presenting Middle Eastern Dance to Western Audiences." Denison University Faculty Luncheon. Granville, Ohio (2006).
• "The Role of the Musicals of Farid al-Atrash in Popularizing Belly Dancing." Popular Art Association National Conference, Atlanta, Georgia (2006).

• ARTH 110 Survey of Western Art II
• ARTH 207 20th-Century Art
• ARTH 701 Contemporary Art
• ARTH 702 Art Criticism

Cynda Benson, Ph.D., is a specialist in 19th- and 20th-century American art and the subject of women in art. She has almost 20 years of teaching and museum experience, and in addition to teaching in the art history department, she serves as the adjunct curator of American art at the SCAD Museum of Art. In that role, she has taught graduate seminars about the women artists of the Gilded Age and Winslow Homer, among others. She was a Luce Fellow of American Art and a National Endowment for the Arts professional intern for two years at the Smith College Museum of Art and has been listed in Who's Who in America. Benson's current area of research is the representation of women artists in late 19th-century American literature, art and culture.

Presidential Fellowship for Faculty Development, SCAD, 2004; research fellowship, Pennsylvania State Museum, Harrisburg, Pennsylvania, 1994; NEA Internship, Smith College Museum of Art, Northampton, Massachusetts, 1991-93; Luce Foundation Award (dissertation grant), 1991

College Art Association, Association of Historians of American Art, Association for Textual Studies in Art History, American Studies Association, Southeastern College Art Conference

Selected publications and curatorial experience

• "Narrating the 'Girl Artist': Fictional Constructions of Artistic Identity in Gilded Age America," forthcoming book.
• Curator and catalog author, SCAD galleries: "Audrey Flack: Reinventing the Goddess" (2000), "Miriam Schapiro: Reconstructing Women's Traditions" (1999), "The Archetypal Image: Myth and Ritual in the Art of Romare Bearden" (1999), "Jacob Lawrence" (1998), "101 Visions: Selections from the Charles Cowles Collection" (1997) and "Romare Bearden: Paper Icons" (1996).
• Co-author, "Masterworks of American Painting and Sculpture from the Smith College Museum of Art," New York and Northampton, MA: Hudson Hills Press in association with the Smith College Museum of Art, 1999.

Selected presentations

• "The Girl Art Student in Gilded Age America," SCAD Museum, May 2005
• "Kathe Kollwitz: Master Printmaker," Telfair Museum, Savannah, February 2004
• "The 'New Woman' in the Studio: Women Artists in Gilded Age American Fiction," College Art Association Conference, New York 2003
• "Daniel Chester French's 'Oglethorpe Monument' and the Spectacle of Veneration," Southeastern College Art Conference, Richmond, Virginia, 1997

1996

Margaret Bridget Betz, Ph.D., has written for The SoHo News, Artforum and Art News-where she also as served as editorial associate-in New York. She has contributed scholarly articles to The Merton Annual, Soviet Union/Union Sovietique and Osteuropaforschung, and also was the creator and managing director of the Academy, a program that allows high school students to take college courses, at the Ohio State University in Columbus. She has lectured in Canada, England, Poland, Russia and Ukraine, as well as throughout the United States.

Fellowship, The Graduate School and University Center, CUNY; Grants from Ohio Council on the Arts, New York State Council on the Arts, The Cremona Foundation and Graphic Industries (Ohio)

CAA, AAASS, International Thomas Merton Society, Institute of Modern Russian Culture, HGCEA

Selected exhibitions

• "Glasnost Under Glass"
• "Asian Costume and Fabrics"
• "Petersburg-Perestroika"

"Prof. Leo Steinberg and Prof. Rose-Carol Washton-Long."

• ARTH 207 20th-century Art
• ARTH 240 Treasures of Provence
• ARTH 701 Contemporary Art
• ARTH 702 Art Criticism
• ARTH 756 Art and Spirituality
• ARTH 788 Art History M.A. Thesis

Assistant Lecturer, Justus Liebig University, Giessen; Research assistant, Collaborative Research Center "Memory Cultures" at Justus Liebig University; Adjunct lecturer, Braunschweig University of Art; Adjunct lecturer, International Summer University at Philipps University of Marburg; Adjunct lecturer, University of Applied Sciences Magdeburg-Stendal, Stendal; Teaching assistant, University of Stony Brook, Stony Brook, New York; Assistant director, AU base art space, New York City

DAAD (German Academic Exchange Service) Fellowship for dissertation research at the University of Arts, Berlin, 2000-2002.

College Art Association, Association of Art Historians, Participating Member of the European, Architectural History Network, Neuer Kunstverein Gießen

Book:

• "Self-Representation in German Art: Culture and the Subject of Narcissism in Images of the Self," Saarbrücken: VDM Verlag, 2008.

Articles:

• "Re-Imagining the City: Urban Objects and Amnesia in post-World War II Construction," in Die soziokulturelle (De-)Konstruktion des Vergessens: Bruch und Kontinuität in den Gedächtnisrahmen um 1945 und 1989, ed. Nicoletta Diasio and Klaus Wieland, Bielefeld: Aisthesis-Verlag, 2012: 151-168.
• "Evocative Towers: Urban Space in Milan," in Theory for the Sake of Theory, Vol. 2, ed. Efe Duyan, Istanbul: DAKAM Publishing, 2011, 172-181.
• "Continuous Spaces: Object and Imagination in Superarchitettura" in Palinsesti: Contemporay Italian Art Online Journal, in the issue: "A New Methodology for the Sixties?," Vol. 1, No. 1 (2011).
• "Ikonische Architektur im Paragone zwischen Avantgarde und Kontinuität" ("Iconic Architecture in the Paragone between Avantgarde and Continuity") Gedächtnisparagone - intermediale Konstellationen, ed. Sabine Heiser and Christiane Holm, Göttingen: Vandenhoeck and Ruprecht, 2010: 251-270.
• "Projective Memory: The Mathildenhöhe as Cultural Space," in Politische Raumtypen: Zur Wirkungsmacht öffentlicher Bau- und Stadt-Strukturen im 20. Jahrhundert, ed. Ernst Seidl, Göttingen: Vandenhoeck and Ruprecht, 2009: 61-70.
• "Eine neue Stadtkrone. Zur Bedeutung und zum Kontext des Bürgerhauses Gießen von Sven Markelius" in Mitteilungen des Oberhessischen Geschichtsvereins Gießen, ed. Manfred Blechschmidt, Michael Breitbach, Eva-Marie Felschow, Susanne Gerschlauer and Dagmar Klein, Neustadt a.d. Aisch: VDS-Verlagsdruckerei Schmidt, 2009: 3-23.
• "Narcissism and Memory: Reflections on Slater Bradley" in Populäre Kultur und soziales Gedächtnis: theoretische und exemplarische Überlegungen zur dauervergesslichen Erinnerungsmaschine Pop, (SPIEL 24/2), ed. Christoph Jacke/Martin Zierold, Frankfurt/M.: Peter Lang, 2008: 299-307.
• "Doppelgänger: Ernst Ludwig Kirchner's Self-Self-Object Relationship" in Source: Notes on The History of Art, Vol. XXVII Nos. 2/3 (for the issue "Art and Psychoanalysis"), ed. Laurie Schneider Adams, New York: Ars Brevis Foundation, 2008: 18-24.

Conference Papers and Public Lectures:

• "The Continuity of the New - Urban Construction in Milan in the 1950s" on the panel "Architecture of Radical Change. Construction, Visual Arts and Design in Italy from 1815-2012" at the Forum for Italian Art History of the Verband Deutscher Kunsthistoriker, Ludwig Maximilians University of Munich, April 3, 2012.
• "Evocative Towers: Urban Space in Milan" at the symposium "Archtheo 2011" at the Mimar Sinan Fine Arts University, Istanbul, November 24, 2011.
• "Evocative Center and Points of Aggregation" at the conference Agora and Void. The Staging of the Center in Urban Construction in the series un/planbar of the SFB 804 Transzendenz und Gemeinsinn at the Technical University Dresden, June 23, 2011.
• "Metropolis and Garden City: Architecture, Meaning and Amnesia in post-World War II Construction" at the Colloque International "La construction de l'oubli" organized by Université de Strasbourg - UMR 7043 "Cultures et sociétés en Europe," Strasbourg, Nov. 27, 2009.
• "The City as House: Space and Identity in Casabella and Domus" at the Second Modernist Magazines Project conference "Modernism, Cultural Exchange and Transnationality," University of Sussex, July 14 2009.
• "Eine neue Stadtkrone für Gießen. Zur Bedeutung und zum Kontext des Bürgerhauses Gießen von Sven Markelius" at the exhibition opening of "zwölfeinhalb" at the Kunsthalle Gießen, June 5, 2009.
• "The Modern City as Memory Structure" on the panel "Space for Thought" at the conference "Building - Designing - Thinking. Third International Alvar Aalto Meeting on Modern Architecture," organized by the Alvar Aalto Academy at the Jyväskylä University, Finland, Aug. 31, 2008.
• "Architecture and Meaning in Post-War Modernism - On the Symbolic Function of Space in the 1951 Darmstädter Gespräch" at the conference "Political Spatial Types: On the Impact of Public Building and Urban Structures in the 20th Century," organized by the Guernica Society and the Institute for Art History at the University of Karlsruhe, July 12, 2008.
• "Architecture as Image: Concerning the Relationship between Image, Architecture and City" at the colloquium "Image Analysis - Towards an interdisciplinary understanding of the image," organized by the Centro Italo-Tedesco at the Villa Vigoni in Loveno di Menaggio, Italy, June 3, 2008.

Professor, Sweet Briar College; Director, Sweet Briar College Museum; Director, Arts Management Program at Sweet Briar College; curatorial work, National Gallery of Art, Biltmore Estate, the Historic House Trust of New York City, the Museum of Art and Design

Fellowships from: Winterthur Museum and Library, National Preservation Institute, The Attingham Trust for the Study of Historic Houses and Collections, and The Bard Graduate Center

Grants from: The Institute for Museum and Library Services, Virginia Association of Museums for exhibition funding provided by the National Endowment for the Humanities

Publications:

• "Young Audiences for Old Collections," an essay in Rethinking Learnings: Museums and Young People (2009), a volume in a British series of books on contemporary museum studies.
• Entries on Chippendale, Rococo Revival and Art Nouveau decorative arts in the Encyclopedia of American Material Culture (2008).

Exhibitions:

• Discover Silver (2010); Domestic Service in the Gilded Age South (2006); Art Nouveau and Art Deco Treasures from a Private Collection (2005).

2010

Chair, Liberal Arts, Moore College of Art and Design (2008 - 2010); assistant professor of art history and curatorial studies, Northern Renaissance, Moore College of Art and Design (2003 - 2010); visiting scholar, art history, Moore College of Art and Design (1998 - 2003); adjunct instructor of art history, Temple University, Tyler School of Art (1997 - 1998)

Presidential Faculty Enrichment Grant, Moore College of Art & Design, 2009 - 10; Kress Travel Fellowship in the History of Art, summer 2005; Bloc Fellow, department of art history, University of Delaware, fall 2002 - spring 2003; Allen Research Grant, University of Delaware, summer 2002; Research Fellow, Studium Urbis, Rome (Director, Dr. Allan Ceen), summer 2002; Excellence in Teaching Award, University of Delaware, spring 2002; Bloc Fellow, department of art history, University of Delaware, fall 2001 - spring 2002; Presidential Fellowship, University of Delaware, fall 1999 - spring 2000; University Travel Grant, Temple University's Aesthetic Theory in Rome Summer Program, summer 1990

College Art Association, Society of Architectural Historians, Sixteenth Century Society, Renaissance Society of America, American Association for Netherlandish Studies, Historians of Netherlandish Art, American Society for Eighteenth Century Studies, Southeastern College Art Conference

Publications

• Book: Maerten van Heemskerck's Rome: Memory, Antiquity, and the Netherlandish Cult of Ruins (in process).
• Review of Elina Gertsman, The Dance of Death in the Middle Ages, in Renaissance Quarterly, Fall 2011.
• Review: Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance, in Sixteenth Century Journal (Fall, 2011)

Essays

• "The Eternal Eye: Memory, Archeology, and Topography in Maerten van Heemskerck's Roman Vedute," in Proceedings of the Conference "Die Roem. Zeichnungen Maarten van Heemskerck (Dec. 8, 2008)" ed. Tatjana Bartsch (expected publication date: Fall, 2011).
• "Maerten van Heemskerck's Collection Imagery in the Netherlandish Pictorial Memory," Intellectual History Review, Spring, 2010.
• "Remembering the Eternal in 1553: Maerten van Heemskerck in Self - Portrait Before the Colosseum," Nederlands Kunsthistorisch Jaarboek, no. 59, 2010.

Presentations

• "Twice Expelled: Maerten van Heemskerck's Heliodorus Driven Out of the Temple" Renaissance Society of America Conference, Venice, Italy, Spring, '10.
• "Shared Memory: Maerten van Heemskerck and His Cohorts, Drawing in Rome," Paid Lecture, Memphis College of Art, Spring 2010.
• "Outstanding Works…Shamefully Destroyed." Maerten van Heemskerck's Lost Altarpieces and the Sculpture of Antiquity," College Art Association Conference, Chicago, Illinois,'10.
• "Serlian Motifs in Prints by Maerten van Heemskerck" Renaissance Society of America Conference, Los Angeles, California, Spring, '09.
• "Re-Thinking 'Dutch-ness': Rembrandt, De Lairesse, and the Romantic Turn" American Society for Eighteenth Century Studies, Richmond, Virginia, Spring, '09.

"I like the idea of perpetuating cultural memory, doing my part to ensure a continuity of inquiry and understanding across long spans of time. As long as I think I am able to give my students a passion for thinking while they look at cultural artifacts (from any period), then my students will continue to inspire me."

• ARTH 100 Survey of Western Art I
• ARTH 209 Renaissance Art
• ARTH 380 Northern Renaissance Art

2007

Beverly Elson spent many years as an educator in Washington, D.C. She is a generalist with a great interest in architectural history; her major areas are 19th-century American art and architecture and 17th-century Dutch painting, prints and drawings. Other areas include Rococo through Impressionism, 20th-century art and contemporary art. She is also a practicing collage artist who exhibits nationally and internationally.

NEH Grant for College Teachers, summer, 1992; NEH Grant for College Teachers, summer, 1989; nominated by Southeastern University in both 1988 and 1989 for the CASE Professor of the Year award; NEH Grant for College Teachers, summer, 1985; two Fulbright Grants: Saigon, Vietnam

Board member on the Washington Color School Project; Center for the Advanced Study of the Visual Arts, National Gallery of Art, Washington, D.C.; College Art Association; National Society of Arts and Letters (Washington chapter); Society of Architectural Historians (Latrobe chapter); Society for Emblem Studies; Cosmos Club, Washington, D.C.

Selected publications
"Visions of America," catalog for the art exhibition in the American Embassy, Sweden.

Selected exhibitions

• Lessedra Gallery in Sofia, Bulgaria, December 15, 2010-February 15, 2011. International juried show.
• MOCA-DC Gallery, Georgetown, Washington, D.C., August 2008.
• International Art Exhibition in the Cairo Opera House in Egypt, September 2006.
• "Art Show: International American Artists AlAhram Artists" (group exhibition), Cairo, Egypt, October 2005.
• "New Delhi 4 India" (group exhibition), All India Fine Arts and Crafts Society, New Delhi, India, November 2004.
• Sam Rayburn House Office Building, as a joint project between the Embassy of Egypt and Congress, February 2006.

Selected presentations

• "The Windows of the National Presbyterian Church," Building Spiritual Washington symposium, Society of Architectural Historians, Washington, D.C., March 2007
• "Current Views of the American Presidency," Art History Focus Week, Savannah College of Art and Design, March 1993
• Gallery talk on American Impressionism and the Ash Can School, Telfair Museum, Savannah, Georgia, March 1992
• "Art Power on the Rise: Artists' Rights," Annual Conference of the Institute for International Development and Strategic Studies, Southeastern University, August 1989
• "American Artists Look at the American Presidency," 14th annual conference on Social Theory, Politics, and the Arts, The American University, October 1988

"The world."

• ARTH 100 Survey of Western Art I
• ARTH 110 Survey of Western Art II
• ARTH 205 19th-century Art
• ARTH 207 20th-century Art
• ARTH 226 American Art
• ARTH 340 Art Since 1945
• ARTH 701 Contemporary Art

Beverly Elson incorporates her extensive knowledge of art history in the creation of her collages.

1999

Jonathan Field, Ph.D., is an experienced lecturer and artist with extensive knowledge in coordinating a range of art education programs. He is committed to an interdisciplinary model of art education and has established a strong exhibiting portfolio. His area of expertise is the 20th century, particularly the post-War period, with a focus on the relationship between postmodern American literature and visual representation.

Inclusion in Marquis Who's Who as educator of note, 2006; SCAD Presidential Award, 2003

SCAD press release:

• "SCAD announces SECAC 2011, Text + Texture: An Intersection of Academics and the Arts Juried Exhibition Winners"

• "Sisyphus," Saltworks Gallery, Atlanta; Forum Gallery, Cranbrook Academy of Art; and the Sarai Media Lab, New Delhi, India. Also broadcast as part of "Indie Show Case," hosted by Cox Communication, Georgia.
• SECAC/MACAA Exhibition (juried), Parthenon Gallery, Nashville, Tennessee.
• "Shimmer," Transcultural Exchange, Boston, Massachusetts.
• "Horizons," Red Gallery, Savannah, Georgia.
• "Monster," STARCCA Gallery, Savannah, Georgia.
• "60 Seconds of Play," Saltworks Gallery, Atlanta, Georgia, and Forum Gallery, Cranbrook Academy of Art.

• ARTH 100 Survey of Western Art I
• ARTH 110 Survey of Western Art II
• ARTH 207 20th-century Art
• ARTH 255 French Modernism
• ARTH 340 Art Since 1945
• ARTH 701 Contemporary Art
• ARTH 702 Art Criticism

jonathanfield.org

2010

Taught college art history courses at Boston University, Suffolk University, and the University of Hartford; worked as a curatorial assistant in the Department of Photographs at the Harvard University Fogg Art Museum; taught Art History and Visual Arts at Albuquerque Academy

Selected awards
Douglass Foundation Fellowship, Smithsonian American Art Museum; Harry Ransom Center Fellowship, University of Texas, Austin; Walter Read Hovey Memorial Fund Award; Pittsburgh Foundation; Humanities Foundation Award Fellowship; Edwin S. and Ruth M. White Prize; Boston University Humanities Foundation

College Art Association, Southeastern College Art Conference, Association of Historians of American Art, American Studies Association, Society of Contemporary Art Historians, Western History Association

Recent publications and exhibitions

• "Roni Horn aka Roni Horn" Exhibition Review; caa.reviews; Fall 2010
• "Rocky History: Deborah Bright's Plymouth Rock and New England Stone Walls" in Hemisphere Volume 2 (Fall 2009), pp. 8-26.
• Guest Curator, Whose History? Contemporary Photography in Plymouth. Pilgrim Hall Museum, Plymouth, MA (2011)

Selected lectures and symposia

• Traveling East to Revisit the West: Robert Adams's 'Turning Back'; College Art Association (CAA) Annual Conference; Chicago, IL (2010)
• Constructing National Identity Through Western Survey Photography, Then and Now; American Studies Association (ASA) Annual Meeting; Washington, D.C. (2009)
• A Legacy of Progress and Destruction: Robert Adams's 'Turning Back'; Sixth Annual American Art History Symposium; Yale University; New Haven, CT (2009)
• A Mythological Monument: Deborah Bright's Plymouth Rock; Great Lakes American Studies Association (GLASA) Annual Conference; South Bend, IN (2009)
• Now and Then: Adventures in Rephotography; College Art Association (CAA) Annual Conference; Dallas, TX (2008)
• No Place Like Home: The Homeless Body as Machine for Living; College Art Association (CAA) Annual Conference; Boston, MA (2008)
• Wish You Were Here: Postcards and the Imagining of the American Southwest; Southwest Art History Conference XVII; Taos, NM (2005)

"Introducing students to the mysteries of modern art and the magic of photography."

• ARTH 701 Contemporary Art
• ARTH 711 Issues in Modern Art
• PHOT 238 History of Photography

Frederick Gross teaches modern and contemporary art, specializing in the history, theory and criticism of photography. His teaching and writing involve re-thinking the history of photography, postwar American art, contemporary art and visual culture. Gross is completing a book on the portraiture of Diane Arbus and Richard Avedon, and has published articles about photography and contemporary art in such periodicals as Cabinet and Afterimage.

Mall Fellowship, CUNY Graduate Center

College Art Association

Selected publications

• "Contemporary Photography Between the Global and the Local," in "Global and Local Mediations," Gregory Minnisale and Celina Jeffery eds. (forthcoming)
• "The Crisis of Photographic Authorship: A Contextual Approach to Intention," in "Thinking Photography (Again)," University of New Mexico Press, 2006.
• "Two New Books: Diane Arbus Revelations and Family Albums," Afterimage 31, 3 (Nov.-Dec. 2003).
• "Diane Arbus's 1960s: Auguries of Experience," Feb. 2012
• "Contemporary Photography Between the Global and the Local" in Gregory Minnisale and Celina Jeffery Eds., Global and Local Art Histories, 2008, 43-58.

Presentations

• Presented "Jason Rhoades and the Construction of Gluttony" at CAA, New York, New York, 2011
• Presented a paper titled "Constructions of Over-Consumption: Jason Rhoades and Thomas Hirschhorn" at SECAC, Richmond, Vrigina, 2010
• Co-Organizer and Respondent, "Africa on My Mind: Contemporary Art Home and Abroad," 2010

Lectures and symposia

• "Photography and Situationist Psychogeography: An Uneasy Coupling," Fifth Savannah Symposium, "Building in the Public Realm," SCAD architectural history department, 2007
• "The Crisis of Photographic Authorship: A Contextual Approach to Intention" at "Thinking Photography (Again)," Durham Center for Advanced Photography Studies, Hatfield College, University of Durham, England
• Speaker, "Arbus Scholars and Artists Day," at the Metropolitan Museum of Art, New York
• "Diane Arbus and the Social Panorama," Art Forum Lecture Series, Nassau County Community College, Garden City, N.Y.
• Participated in Mellon Foundation Seminar, "The Culture of the Cold War," CUNY Graduate Center

• ARTH 207 20th-century Art
• ARTH 420 Visual Culture
• ARTH 701 Contemporary Art

2000

Taught at Xavier University in Cincinnati, Philadelphia University, Armstrong Atlantic University; curatorial consultant, Taft Museum; instructor of docents, Cincinnati Art Museum; studied architectural history at the Courtauld Institute, University of London; attended Victorian Society's London and Newport Summer Schools, The Attingham Summer School for the Study of the English Country House, Museum of Early Southern Decorative Arts Summer School, Winterthur Museum Winter Institute

Presidential Fellowship for Faculty Development, Savannah College of Art and Design, 2002; American Friends Scholar, American Friends of the Attingham Summer School, 1999; University of Delaware International Travel Award to present a paper at the University of Oxford, 1999; Graduate Fellowship, University of Delaware, 1998; University of Delaware Department of Art History award to present a paper at the Institute of Historical Research, London, 1998; Institute for Public History of the University of Virginia, internship awarded for summer 1997; Dupont Graduate Fellowship, University of Virginia, 1996-97; Dupont Graduate Fellowship, University of Virginia, 1995-96; Winterthur Museum Winter Institute Fellowship, 1995; Victorian Society in America Fellowship for attending the London and Newport, RI Summer Schools, 1994; Graduate Fellowship, University of Cincinnati, 1993; Graduate Fellowship, University of Cincinnati, 1992; Museum of Early Southern Decorative Arts Summer Institute Fellowship, 1991

Society of Architectural Historians, Society of Architectural Historians of Great Britain, College Art Association

Publications
"Public Sculpture," "Horatio Greenough," "Revivalism," and "Papier Mâché" for the Encyclopedia of Sculpture published by Taylor & Francis/ Routledge, 2004.

Lectures

• "Luxury and Commerce: The Architectural Development of Bath and Bristol in the Long Eighteenth Century." Lecture delivered to the English-Speaking Union, Savannah, Georgia, October 18, 2009.
• "Town and Country: Seeing Oneself in the Landscapes of Georgian England." Lecture delivered at the Savannah College of Art and Design Museum of Art, Savannah, Georgia, January 18, 2009.
• "The Artist at the Georgian Court." Lecture and gallery talk delivered at the Earle W. Newton Center for British-American Studies, Savannah, Georgia, May 14, 2006.

Conference and symposia presentations

• "City of Barriers: Forms of Separation and Exclusion in 18th Century London." Paper to be presented at the London Studies Conference, University of London, London, England, July 12-14, 2011.
• "'So That to Us No Thing, No Place is Strange:' Making London Familiar in the Long Eighteenth Century." Lecture delivered as part of the Department of Architectural History's Lecture Series, Savannah College of Art and Design, Savannah, Georgia, January 22, 2004.
• "Federal Furniture at the Taft Museum." Lecture delivered at the Taft Museum, Cincinnati, Ohio, February 19, 1995.
• "The Elite Rural Presence in the Eighteenth-Century English City." Paper presented at the Southeast Chapter of the Society of Architectural Historians annual conference, Savannah College of Art and Design, Savannah, Georgia, October 2, 2003.
• "Lamp of Truth or Magic Lantern? The Role of Perception and Empiricism in Determining Architectural Truth." Paper presented at the the 2nd Savannah Symposium, "Authenticity in Architecture," Department of Architectural History, Savannah College of Art and Design, Savannah, Georgia, February 16, 2001.
• "Space in the Painting and Architecture of Le Corbusier." Paper presented at the Cleveland Symposium, Cleveland Museum of Art, April 24, 1999.
• "Fulfilling Rural Desires: The Eighteenth-Century English Urban Landscape as Surrogate Country House," Paper presented at the Conference of the British Society for Eighteenth-Century Studies, St. John's College, Oxford University, January 5, 1999.
• "And Then There Were Two: Uncovering a Faked Federal Sideboard in the Taft Museum." Paper presented at the seminar "Deceit, Deception, and Discovery: Fakes in the Museum and Marketplace," Winterthur Museum, Wilmington, Delaware, December 5, 1998.
• "Paradox and Compromise in the Cooperative Housing Schemes of M. H. Baillie Scott and Raymond Unwin." Paper presented at the Ohio State University History of Art Symposium "Art and Community," Ohio State University, Columbus, Ohio, November 14, 1998.
• "Unity through Style as Process: Harmony in Late Victorian and Edwardian Interiors." Paper presented at the Carolina's Symposium on British Studies, Birmingham, Alabama, November 13, 1998.
• "From Vision to Process: Medievalism in Eighteenth- and Nineteenth-Century English Architecture and the Decline of the Visual" Paper presented at the Thirteenth International Conference on Medievalism, Rochester, New York, October 8, 1998.
• "The Post-WWI English Small House: The Emergence of an Architecture of Duty and Vigilance." Paper presented at the "National Identities" Conference of the Institute of Contemporary British History, Institute of Historical Research, University of London, April 20, 1998.
• "The Architecture of Identity: Ruskin, Gandhi, Le Corbusier, and the Maison Sarabai" Paper presented at the Philadelphia Symposium, Philadelphia Museum of Art, March 21, 1998.

• ARTH 100 Survey of Western Arts I
• ARTH 110 Survey of Western Arts II
• ARTH 205 19th-century Art
• ARTH 340 Art Since 1945
• ARTH 367 18th-century English Art and Design
• ARTH 368 British Modernism
• ARTH 378 Masterpieces in English Collections
• ARTH 700 Historiography of Art History
• ARTH 713 The Pre-Raphaelite Movement
• ARLH 206 Modern Architecture 1: 1750-1900

Timothy Jackson is a professor of new media in the art history department. His research interests include theory and criticism of new media, telematic networked art systems research and development, interactive art installations, art as research/research as art, new media design and consulting, new media poetics and aesthetics, and critical pedagogy. He has published book chapters, catalog essays and art criticism in a range of scholarly and online journals. Originally trained as a painter, Jackson has exhibited work internationally and has lectured at many conferences and symposia. He has developed more than 20 courses in the field of new media in several institutions of higher education over the past 20 years.

Computing Center Fellow, The Pennsylvania State University; Leonhard Center Fellow, The Pennsylvania State University; Heritage Canada Grant, Research Partnering; Canada Council Grant, Media Arts; Canadian Fund for Infrastructure Grant; SRC Research Grant, Ryerson University

Leonardo Education Forum, College Art Association, MARCEL Network

Selected publications

• "A Radical Aesthetic: Syncretism as Free/Open Source Culture," Drain magazine, October 2005.
• "Ghosts of Modernity in the Work of Avantika Bawa," in "Wall to Wall Drawings" catalog exhibition, the Drawing Center, New York, July 2005.
• "Imagining Futures: Towards a Critical Pedagogy for Emerging Technologies," in "Electronic Collaboration in the Humanities: Issues and Options," James Inman et. al., eds., Lawrence Erlbaum Press, 2003.
• "A Cartography of Awe Rendered in Invisible Ink: The Sublimation of the Sublime in the Work of Arnaud Dejaummes," Ryerson University Catalog, 2003.
• "Homily for a Labor of Meaning," Bad Subjects: Issue 53, January 2001.

Selected presentations/lectures

• Authored, organized and chaired Leonardo Educators Forum Panel, "New Media Futures: The Artist as Researcher and Research as Art in the 21st Century," and presented "Metaphors and Taxonomies: Art as Basic Research," 20th Annual Conference of the Society of Literature, Science, and Art, New York University, New York, November 2006; and College Art Association, NYU, New York, February 2006.
• "A Radical Aesthetic: Syncretism as Free/Open Source Culture," Without Borders Art Festival, the University of Maine - Orono, September 2005.
• Presented overview of work by Synth/Ops Research Group, conference at CIANT - International Center for Art and New Technologies, Prague, Czech Republic, July 2005.
• Invited speaker for the Ryerson Panel of Researchers from the Faculty of Communication and Design, International Council of Fine Arts Deans, Toronto, Canada, November 2002.

Selected exhibitions

• "Travelossities: Sadness and Speed," 10-minute digital video, "Without Borders Art Festival," Bangor, Maine, September 2005.
• "Impossible Sky," DVD, CIANT - International Center for Art and New Technologies, Prague, Czech Republic, July 2005.
• "Impossible Sky: Sacred Skies," installation in "Intervention" exhibition, Lacoste, France, June - August 2005.
• "Impossible Sky: SCAD-Atlanta," installation in "Digital Cotton" exhibition, Atlanta, February 2005.
• "Impossible Sky," documentation DVD, "T(HERE)," India Habitat Center, New Delhi, India, December 2004.

• ARTH 265 Survey of New Media Art
• ARTH 356 Digital Art and Culture

James T. Janson, Ph.D., has worked as assistant curator of education at the Detroit Institute of Arts, assistant professor of art history at Kent State University, and associate professor of art history at Georgia Southwestern State University. In addition, he directed the School of Art Gallery at Kent State and the Florence O'Donnell Wasmer Gallery at Ursuline College in Cleveland, Ohio. While teaching at GSW, he also was an adjunct curator of adult education at the Albany Museum of Art in Albany, Ga. Janson developed the museum studies program at SCAD and served as chair of the art history department from 2000-02. His areas of specialty are Italian Renaissance art, Northern Renaissance art, museum studies and the Papacy.

Who's Who Among America's Teachers, 2004; Ruth Barber Moon Award, Case Western Reserve University, 1997; Graduate Fellowship, Case Western Reserve University, 1985, 1986; National Endowment for the Humanities Fellowship, University of Minnesota, 1974

American Association of Museums, College Art Association, Historians of Netherlandish Art, Southeast College Arts Conference, Education Committee, Telfair Museum of Art, Board of Directors (former), Curiosity Street Children's Museum

• "Map Magic," Earle W. Newton Center for British and American Art, SCAD, 2005
• "Mapping the Past: A Selection of Antique Cartography from the Newton Collection," Newton Center, SCAD, 2004
• "Fifteenth-century Flemish Independent Portraiture: Origins, Development and Influences," Southeastern College Art Conference, Miami, 1998
• "French and American Impressionism," exhibition catalog, Albany Museum of Art, 1996

• ARTH 100 Survey of Western Art I
• ARTH 110 Survey of Western Art II
• ARTH 209 Renaissance Art
• ARTH 380 Northern Renaissance Art
• ARTH 381 Italian Renaissance Art
• MUSM 201 Introduction to Museum Principles and Methods
• MUSM 303 Museum Education
• MUSM 301 Museum Administration

Keehong Kim studied East Asian art history at the Seoul National University Graduate School and the Paris-Sorbonne University, where he earned a doctorate degree with Tres Honorable mention. He also worked as senior curator at the Korean National Museum of Contemporary Art and the Korean Studies Center (the Gan Song Art Museum) in Seoul, South Korea.

Selected publications

• "The Era of the True Landscape-Golden Age of Chosun Dynasty Culture" (joint authorship), Dol Begae, Seoul, Korea, 1998.
• "The Introduction and Assimilation of Chinese Literati Painting Style on Korean Peninsula," Collected Thesis, The Korean Academy of Art, 1993, Seoul.
• "The New Trend of Korean Literati Painting Style in the Late Period of Chosun Dynasty-The Center for the Study of Korean Arts," the Gan Song Mun Hwa No. 42, Seoul, Korea.
• "The Survey of Contemporary Painting Style in Korea," The Chronicles of Korean Art, No. 26, the Korean Academy of Art, 1991, Seoul.
• "Grand Collection of Korean, Chinese, and Japanese Painting," No. 2, Korea II, Sam Seong Publishing Co., Ltd. 1985, Seoul.

Exhibition
Solo shows at BGH Gallery at Los Angeles Art Center, Santa Monica, 2000 and 2000

Presentations and lectures

• Korean Art History Lecture Sseries at the Korean Cultural Center in Los Angeles
• Seoul National University
• Seoul Women's University
• Seoul City College
• Duk Sung Women's College

• ARTH 220 Survey of Asian Art
• ARTH 271 Art of China

Christoph Klütsch, Ph.D., worked as a scientific coordinator for the Jacobs University, Bremen, and the University of Applied Science, Bremen, before he joined the art history department at SCAD. In 2007, he published his doctoral dissertation about the early beginnings of computer art the 1960s with Springer. He teaches courses in contemporary art and theory.

The EU-founded research project MORITZ at the University of Applied Sciences (focused on developing linked mobile applications for industrial textile museums on the "Route of Industrial Heritage" in Germany, England, Poland and Latvia) won first prize for best practice in the field of creativity and innovation, among all EU projects.

College Art Association, New Media Caucus, Rhizome.org

Selected publications

• Klütsch, C., et al., "Augmented museum - Besucher erkunden und gestalten mit." in Michael Mangold/Peter Weibel/Julie Woletz (Hrsg.) (2007): "Vom Betrachter zum Gestalter. Neue Medien in Museen - Strategien, Beispiele und Perspektiven für die Bildung." Baden-Baden: Nomos Verlag. pp. 185-201.
• "Computer Graphic-Aesthetic Experiments between Two Cultures, LEONARDO Vol. 40, No. 5 (2007), pp. 421-425 (+ 453 color).
• Klütsch, C., et al., "Stations of Early Computer Art-Benchmark Data of an Algorithmic Turning Point in the Fine Arts" in Herzogenrath, W., B. Nierhoff, et al. (2007). "Ex Machina-Frühe Computergrafik bis 1979: Die Sammlungen Franke und weitere Stiftungen in der Kunsthalle Bremen; Herbert W. Franke zum 80. Geburtstag" [Katalog (zugleich Bestandskatalog) zur Ausstellung in der Kunsthalle Bremen vom 17. Juni bis 29. Juli 2007]. München, Deutscher Kunstverlag. pp. 182-229
• "Computergrafik. Ästhetische Experimente zwischen zwei Kulturen. Die Anfänge Computerkunst in den 60er Jahren," 2007, SpringerWienNewYork, 288 p.
• Klütsch, C., et al., "MORITZ: A European Mobile Media Project For Historical Textile Industry Museums." In J. Trant and D. Bearman (eds). Museums and the Web 2007: Proceedings. Toronto: Archives & Museum Informatics, published March 31, 2007

Exhibitions

• 2002: "Stadt der Zukunst", SiemensForum (München)
• 2001: "Währungen im Übergang - von Taler und Gulden zur Mark, von der D-Mark zu Euro" Deutsche Bundesbank (Frankfurt am Main)

Presentations and lectures

• "The roots and influences of information aesthetics in Germany, Canada, U.S., Brazil and Japan," re:place, Berlin, November 2007
• "Künstlergespräche in der Ausstellung" Podiumsdiskussion, Gallerie für Gegenwartskunst, Bremen, 2007
• "MORITZ - PDA-Anwendungen für Museumsbesucher zur Erschließung europäischer Industriekultur" Mai-Tagung, Karlsruhe, May 2007
• "MORITZ: A European mobile media project for historical textile industry museums." Presentation at Museum and the Web 2007 conference, San Francisco, April 2007
• "Algorithmic based art," College of Visual and Performing Arts, Texas Tech University, April 2007

• ARTH 265 Survey of New Media Art
• ARTH 356 Digital Art and Culture
• ARTH 420 Visual Culture
• ARTH 701 Contemporary Art
• ARTH 703 Modern and Contemporary Critical Theory

1991

Lesa Mason, Ph.D., explores in her teaching and current research the interconnections between past sacred/secular art and architectural spaces and the contemporary realm. For years she pursued interdisciplinary research in Europe. She directed research for the American team of artists, historians and preservationists who worked to document the site of Sankt Kolumba in Cologne, Germany. While her specialization for her doctoral work was in the German Renaissance, she has also pursued more contemporary studies including the life of Joseph Beuys. She is engaged deeply with the study of artist's material and techniques as a result of her studio background and her dissertation that was an art historical and scientific analysis. She collaborates with artists on campus to bring art history alive in the recreation of Renaissance studio practices and to dialogue with how new practices are must engage with the past. Lesa has a passion for the history of the canine in art and the hunt.

SCAD Presidential Fellowship for Faculty Development, Spring 2003; Earthwatch Grant, 1996

German Deutscher Akademischer Austauschdienst (DAAD), College Art Association (CAA), Southeastern College Art Conference (SECAC), American Whippet Club (AWC)

• "The Drowned and the Saved, Transmitting the Spirit of Place," (paper presented at the 7th Savannah Architectural History Symposium, The Spirituality of Place, The Savannah College of art and Design, Savannah, GA, February 18, 2010).
• "Art in Sacred Space," (lecture, St. John's the Apostle Episcopalian Church, Savannah, GA, December 5, 2010).
• "At St. Kolumba: The Drowned and the Saved, Transmitting the Spirit of Place Interpretation / Meaning" (paper presented at the16th General Assembly and Scientific Symposium of ICOMOS, Québec, Canada, September 30, 2008).
• "Materials and Techniques of the English Tudor Court," (lecture, SCAD Museum of Art, Savannah GA, Spring, 2006)
• Exhibition catalog, "Pour l'Amour des Chiens," SCAD, 2003.
• "Relics" and "Litugical Vestments," Medieval Germany: An Encyclopedia, New York: Garland Pub., 2001.
• "How to Explain Pictures to a Dead Hare," Joseph Beuys Symposium. School of Art, East Carolina University, June 1995.
• "Deepening Concerns and New Impulses,Exhibition catalog. SCAD, Savannah, GA, 1992.
• "A Sacred Site: Sankt Kolumba," National Trust for Historic Preservation Conference. Exhibit A Gallery, SCAD, Savannah, GA, 1998).
• "I Like America and America Likes Me: Action Art by Joseph Beuys," (lecture SCAD, Savannah, GA, 1996)
• "How to Explain Paintings to a Dead Hare,"(paper presented at Joseph Beuys Symposium, East Carolina University, Greenville, NC, June, 1995).
• "Medieval Underdrawings in the Wallraf-Richartz Museum," (lecture, Wallraf-Richartz Museum, Cologne, Germany, June 1992).
• "Deepening Concerns and New Impulses," SCAD, (opening speech The Amerika Haus, Cologne Germany, Dec. 1992)."
• The "Impact of Technical Studies on the History of Art," (paper presented CAA Session, New York, February, 1992).

• ARTH 100 Survey of Western Art I
• ARTH 110 Survey of Western Art II
• ARTH 380 Northern Renaissance Art

2009

Working on a book about contemporary photography in Mali

Christine Neal, Ph.D., worked as a curator in the art museum field for almost 20 years before joining SCAD. Her experience includes public, private and university art museums across the country. In addition, she has served as an independent art curator. Neal and one of her museum curation classes organized an exhibition for the Johnny Mercer Centennial Celebration.

SCAD Presidential Fellowship for Faculty Development; Kress Foundation, University of Wisconsin; Tuition Remission, University of Wisconsin

Chair, AAM Exhibition Competition, 1997-2000; Judge, Annual Art Fair, Winter Park, Fla., 2000; Judge, Third Annual Art Exhibition, Brunswick, GA, 1999; Curators Committee, American Association of Museums; Southeastern Museum Conference; Southeastern College Art Conference

Selected publications

• "Sylvia Shaw Judson," American Arts Quarterly, Summer 2002
• "Claude Raguet Hirst: Her [Still] Life Story," Woman's Art Journal, Spring 2002
• "The Still Lifes of Claude Raguet Hirst," American Arts Quarterly, Fall 2001
• Essay, "L'art de Kahlil Gibran," published in the exhibition catalog for "The Garden of The Prophet: Kahlil Gibran, Writer and Painter." Accompanied the exhibition at the Institut Du Monde Arabe in Paris.
• Annual Exhibition Competition, Museum News, 1998 and 1999

Lectures

• CAA, "New Voices in 19th-century Scholarship," 2000
• American Culture/Popular Culture Association annual conference (1999)
• Southeastern College Art Conference, "Against the Odds: Women Making Their Mark in Art" (1999)
• Art Institute of Chicago, 32nd Annual Graduate Student Conference (1998)

"I took one art history class and fell in love."

• ARTH 100 Survey of Western Art I
• ARTH 110 Survey of Western Art II
• ARTH 207 20th-Century Art
• ARTH 226 American Art
• ARTH 300 Censored Art through 1945
• ARTH 350 Survey of Women in Art
• MUSM 201 Introduction to Museum Principles and Methods
• MUSM 302 Museum Curation and Collections Management

2001

Andrew Nedd's specialties are modernism in general and Russia in particular. His dissertation was titled "Defending Russia: Russian History and Pictorial Narratives of the 'Patriotic War,' 1812-1912." He served on the organizing committee for the Southern Conference of Slavic Studies conference, which held its 41st annual meeting in Savannah in April 2003. Nedd also played a significant role in initiating a regular biennial art history symposium at SCAD, and he continues to serve as the symposium co-chair. Spring 2010, Nedd co-curated for SCAD the exhibition curated the exhibition Builders, Bolsheviks, and Bulldozers: Facets of 20th-Century Russian Art.

SCAD Presidential Fellowship for Faculty Development, 2001 and 2005; U.S.C. College of Letters, Arts and Sciences, summer dissertation fellowship, spring 2003; Short-term residential fellowship, Kennan Institute of the Woodrow Wilson International Center for Scholars, spring 2002; Regional Scholar Exchange Program Grant, U.S. Department of State, Bureau of Educational and Cultural Affairs, spring 2001

Publications

• "Segodniashnii Lubok: 'Art, War, and National Identity.'" Pearl James, ed. "Picture This!: Reading World War I Posters" (University of Nebraska, 2007).
• "Censorship in Russia," with Margy Betz. Robert Justin Goldstein, ed. Killing Images: Political Censorship of the Visual Arts in Nineteenth-Century Europe (Macmillan Publishers, anticipated early 2012).

Selected presentations

• "Russian Censorship of the Image," with Margy Betz. Study Group on Nineteenth-Century European Censorship. APICE Center at Milan University. Spring 2010.
• Fifth Savannah Symposium, SCAD, February 2007. Chaired session.
• "Russian Primitivism Becomes Avant-garde: 'Lubki' in Russian World War I Posters," Modernist Studies Association, October 2005.
• "Reading Tolstoy: Russian Pictorial Narratives of the 'Patriotic War of 1812,'" Association for the Study of Nationalities, Harriman Institute, Columbia University, New York, April 2005. College Art Association (CAA). Dallas, TX. February 2008.
• "Modernism and the Question of Place," Fourth Savannah Symposium: Architecture and Regionalism, February 2005. Chaired session.
• "Russian Modernism in Central and Eastern Europe," Southeastern College Art Conference, October 2004. Organized and chaired panel.

• ARTH 100 Survey of Western Art I
• ARTH 110 Survey of Western Art II
• ARTH 205 19th-century Art
• ARTH 207 20th-century Art
• ARTH 369 Russian Modernism

Alexandria Pierce, Ph.D., joined the art history faculty at SCAD in the fall of 2006, teaching in the field of 20th- and 21st-century art history and critical theory. Pierce's M.A. thesis, "Installation Art as Power Field," and her doctoral dissertation, "Imperialist Intent: Colonial Response, The Art Collection of Lord Strathcona and His Milieu in Nineteenth-Century Montreal," are indicative of the breadth of her research interests. Pierce has undertaken field research in North America, Turkey, Greece, Southeast Asia, Germany and Switzerland, and has curated more than 100 exhibitions of contemporary art.

Founded an artist-run center, Center Eye, Calgary, AB, (1980-89) and helped to establish the medium of photography as a fine art medium; was the first woman photojournalist in Canada to be employed as a full-time staff photographer by a major city daily newspaper

Governor General's citation for exhibition and publication Robert Bruce: Works from the War; Lieutenant Governor's award for being a role model for young women

College Art Association; Foundations in Art: Theory and Education

Selected publications

• "Mona Hatoum at the Rennie Collection, Vancouver," Art Papers (March/April), 2010.
• "Elegaic Documents: The Presidents' Favorite Paintings, Slipper Tongue and Hope Pinned Down by Jonathan Field," Art Papers (March/April), 2009.
• Review of "Clair Bishop, Installation Art: A Critical History," New York: Routledge, 2005, in Parachute 122, Contemporary Art.
• "Imperialist intent: Lord Strathcona's art collection in nineteenth-century Montreal" in "Montreal-Glasgow," ed. Bill Marshall, University of Glasgow, 2005.
• "LANDeSCAPES: Simon Frank and Reinhard Reitzenstein" exhibition catalog, 2005.
• "Yechel Gagnon: Palimpsest" exhibition catalog, 2004.

2002

Jane Rehl, Ph.D., has been teaching for more than 30 years while also maintaining strong ties to the museum world. She holds a Ph.D. in art history from Emory University and has taught at Rutgers University - New Brunswick, Skidmore College and Emory University. She also has served as assistant curator and assistant director of the Zimmerli Museum at Rutgers, curator of the permanent collection of art at Skidmore College, gallery director and curator of the Museum of the Historical Society of Saratoga Springs, and assistant curator of the Arts of the Ancient Americas at the Michael C. Carlos Museum of Emory University.

• Session Chair, "Religious Architecture and the Community," Seventh Biennial Symposium, The Spirituality of Place, Architectural History Department, Savannah College of Art and Design, 2011
• Co-chair, Africa on My Mind: Contemporary Art, Home and Abroad. Third Biennial Symposium, Department of Art History, Savannah College of Art and Design, February 26-27, 2010.
• Session chair, "Museums in Crises Past and Present: Collections, Ownership and Cultural Heritage." New Museum, New Museology, Second Biennial Symposium, Department of Art History, Savannah College of Art and Design, April 3-5, 2008.

Grant from the Smithsonian Institution, Archives of American Art for the organization/preparation of Erwin Panofsky's letters for transfer from the Institute for Advanced Study, Princeton University to Washington, D.C., 1978; grants from the New York State Council for the Arts and the New York State Council for the Humanities (NEH) for planning and implementation of exhibit Honorable Work: African-Americans in the Resort Community of Saratoga Springs, New York, 1870-1970, 1990, 1992; faculty research grant from the dean of faculty, Skidmore College for production of the exhibit catalogue, Honorable Work: African-Americans in the Resort Community of Saratoga Springs, New York, 1870-1970, 1992

Society of American Archaeology; Archaeological Institute of America; CAA; American Association of Museums; National Museum of the American Indian; National Museum of African American Culture and History; The Textile Society of America; The Textile Museum, Washington, D.C.; The University of Pennsylvania Museum of Archaeology and Anthropology; The Michael C. Carlos Museum, Emory University; The Telfair Museum of Art, Savannah; The Davenport House, Savannah

Most recent publications

• Weaving Metaphors, Weaving Cosmos: Reflections of a Shamanic Worldview in the Discontinuous Warp and Weft Textiles of Ancient Peru, 300 BC-1540 CE. LAP Lambert Academic Publishing AG & Co. KG, Saarbrücken, Germany. 2010.
• "Weaving Principles for Life: DWW Textiles of Ancient Peru." In "Andean Textile Traditions: Papers from the 2001 Mayer Center Symposium at the Denver Art Museum," eds. Margaret Young-Sánchez and Fronia W. Simpson (Denver Art Museum, 2006).
• "The Order of Things in Ancient Peru: Metaphors in Warj-Related DWW Textiles," in "Approaching Textiles, Varying Viewpoints, Proceedings of the Seventh Biennial Symposium of the Textile Society of America," (Textile Society of America Inc., 2000).

Presentations/lectures

• "The Natural Law of Change in Late Intermediate Period Discontinuous Warp and Weft Weaving of Ancient Peru," Textile Society of America Symposium, Oakland, Calif., Oct. 9, 2004.
• "Weaving Principles for Life: Discontinuous Warp and Weft Textiles of Ancient Peru," Andean Textile Traditions Symposium, Denver Museum of Art, Jan. 27-28, 2001.
• "The Order of Things in Ancient Peru: Metaphors in Wari-Related Discontinuous Warp and Weft Textiles," Textile Society of America Symposium, Santa Fe, N.M., Sept. 21-23, 2000.

Select curated exhibitions

• "The Social Life of Kuba Cloth," M. C. Carlos Museum, Emory University, Atlanta, 1998.
• "Whistler Prints," Permanent Collection of Art, Skidmore College, Saratoga Springs, N.Y., 1982.
• "Faith Ringgold: Black. Woman. Artist. A Retrospective," Zimmerli Museum, Rutgers University, New Brunswick, N.J., 1973. This was Faith's first retrospective.

• ARTH 100 Survey of Western Art I
• ARTH 110 Survery of Western Art II
• ARTH 287 Arts of Africa, Oceania, and the Americas

2008

John Hope Franklin Humanities Institute Dissertation Scholar for 2007-08 at Duke University, Graduate School Fellowship for 2000-05 at Duke University, Nasher Museum of Art, Spring 2004 Mary Duke Biddle Curatorial Fellow, March 2011 SCAD Ambassador Choice Award

College Art Association, Southeastern College Art Conference

Paper presentations:

• "The Apocalyptic Spectacle: Damien Hirst and the Crisis of Meaning in Contemporary Art," College Art Association Conference, New York, Februrary 9-12, 2011
• "Don't Shoot the Messenger: Jeff Koons and the Aesthetics of Frivolity," UCLA Humanities Conference, Los Angeles, June 29-July 2, 2010
• "Damien Hirst and the Crisis of Meaning in Contemporary Art," American Anthropological Association Conference, New Orleans, Nov. 17-21, 2010

Sessions:

• "Aesthetic Economy: Examining the Nexus of Art and Value," American Anthropological Association Conference, New Orleans, Nov. 17-21, 2010

Publications:

• "The International Journal of the Humanities," Volume 8, Number 8, 2011
• "Don't Shoot the Messenger: Jeff Koons and the Aesthetics of Frivolity," "The International Journal of the Humanities," Volume 8, Number 11, 2011

• ARTH 110: Survey of Western Art II
• ARTH 207: 20th-Century Art
• ARTH 343: Installation and Environmental Art

Geoffrey Taylor has been named art history chair. After completing the Master of Architecture program at SCAD in 1994, Taylor earned Master of Design Studies and Doctor of Design degrees from Harvard University's Graduate School of Design. Taylor returns to SCAD following service as a research scholar in the Department of Drawings and Prints at the Metropolitan Museum of Art, where he previously received the Chester Dale fellowship. A Samuel H. Kress curatorial fellow and a visiting fellow at Harvard University's Houghton Library, Taylor specializes in Italian Renaissance drawings and prints. SCAD honored him as 2005 Outstanding Alumnus.

2001

Rebecca B. Trittel, Ph.D., began teaching at SCAD in 2001 and served as the chair of the art history department from 2005-08. Her areas of specialization include portraiture, 19th-century art, British art and modernism, and Dutch Baroque art.

Chairing the Department of Art History for three years

Marquis's Who's Who of American Women, 2006; SCAD Presidential Fellowship for Faculty Development, 2003; National Federation of Business and Professional Women's Clubs Travel Grant, Colchester, UK, 2001

College Art Association, Southeastern College Art Conference, Association of Art Historians, Association of Historians of Nineteenth-Century Art, American Society for Eighteenth Century Studies

Publications

• Dictionary of Artists' Models, Fitzroy Dearborn, 2001.
• "Constable and Wivenhoe Park: Reality and Vision," Catalog, University of Essex, 2001.
• "The Hermit of Eartham: William Hayley and his Friendship with George Romney," Transactions of the Romney Society, vol. 5, 2000.
• "Printing the Unprintable: The Bicentenary of Goya's 'Caprichos,'" Catalog, University of Essex, 1999.

Presentations and lectures

• 2010 - SECAC, Richmond VA: Presented "Portraits of Power and the Power of Portraiture in the reign of Elizabeth I, the Virgin Queen" in the Session entitled, About Face: Investigating the Problematics of Portraiture
• 2009 - SECAC, Mobile, AL: Chaired the session entitled Looking Back/Looking Forward: The Role of Portraiture in the Establishment of a Historical Identity - Literary Theme and presented "The Portrait of Lord Byron in Arnaout Costume by Thomas Phillips, R.A."
• 2005 - "Self-portrait of Sir Joshua Reynolds," Earle W. Newton Center for British and American Studies, Savannah, Ga.
• 2003 - Delivered a presentation about the unveiling of newly discovered paintings and illustrations by Pierre Auguste Renoir and Norman Rockwell at Red Baron Antiques, Atlanta.
• 2000 - Chaired a session at the Blake and the Enlightenment conference, University of Essex.
• 1999 - "Gold Braid and Brass Buttons: The Military Uniform's Influence on Men's Civil Fashions of the 18th and Early 19th Centuries," Conflicting Visions: The Culture of War in Europe 1660-1815 Conference, University of Leicester, UK.

"My inspiration for teaching is the student in the back row, who appears rather bored. What can I do to make art history interesting, appealing and make that student want to learn?"

• ARTH 100 Survey of Western Art I
• ARTH 110 Survey of Western Art II
• ARTH 205 19th-century Art
• ARTH 240 Treasures of Provence
• ARTH 250 Art Historical Methods
• ARTH 255 French Modernism
• ARTH 348 British Portraiture
• ARTH 378 Masterpieces in English Collections
• ARTH 404 Hogarth's Satirical Art

"My art is the art of teaching art history. My best teaching practices include preparation, passion and patience. It is imperative that an instructor be completely prepared for the material covered during each class session. This includes not only reading the assigned material, but also the leading scholarship on the ideas/concepts presented, and the most current discussions available. This is a challenge when teaching a survey course, as the material covered is so vast, but it is wise to keep as up to date as possible on relevant material in each course. Secondly, I have found that an enthusiasm or passion for a topic usually creates a greater engagement with the material for the students. We all have memories of poor teaching skills from past courses we have taken; my worst experience was with an instructor who brought out her old, yellowed notes and read from them in an monotone voice, clearly not enjoying her chosen profession. This does not encourage any engagement with the material for the students. Showing the students how much you enjoy your chosen field may not strike the same passion in them, but it will allow them to absorb the material presented in a positive light, which will keep them interested and engaged with the material. Thirdly, patience is necessary when working with college students. Everyone learns at a different pace and each student has different skills and abilities. While demanding the same level of performance from each student is a necessity for college education, not everyone needs the same amount of time and direction. I make it a habit of extending my office hours in order to meet with any student that needs to see me regarding their class assignments and to go over certain helpful study skills that may improve their class performance. I find these three concepts - preparation, passion and patience - to be the cornerstone of my success for the last ten years in higher education."

Rebecca Turner, Ph.D., joined the art history department at SCAD in Fall 2005. She specializes in medieval art history and has been teaching both brick-and-mortar and online classes for more than 15 years.

Sumner McKnight Crosby Award, Yale University

College Art Association, The International Society of Medieval Art, Medieval Academy of America, Southeastern College Art Conference, Southeastern Medieval Association

• ARTH 100 Survey of Western Art I
• ARTH 282 Medieval Art and Architecture
• ARLH 728 Romanesque Art and Architecture

2004

Stephen M. Wagner's area of specialization is art and architecture of the European Middle Ages, with a special focus on manuscripts produced in France and Germany between the eighth and 11th centuries. He is the coordinator of the art history department's graduate studies program.

Byzantine Studies Association of North America, College Art Association, International Center of Medieval Art, Medieval Academy of America, Southeastern College Art Conference, Southeastern Medieval Association

Publications

• "Visual evidence of monastic reform in luxury manuscripts produced at Echternach in the eleventh century," Peregrinations, September, 2009.
• Review of Encountering Medieval Textiles and Dress: Objects, Texts, Images, New York: Palgrave, 2002, for caareviews.org, September 2006.
• "The Impact of Silk on Ottonian and Salian Manuscripts," in Proceedings of the Eighth Biennial Symposium of the Textile Society of America, 2003.

Presentations and lectures

• "Continuity and Innovation in 11th-Century Manuscripts Made at Echternach," 41st International Congress on Medieval Studies, Kalamazoo, Mich., May 2007.
• "The Impact of Silk on Ottonian and Salian Manuscripts," Silk Roads, Other Roads, biennial symposium of the Textile Society of America, Northampton, Mass., September 2002.
• "Luxurious Trappings in the 10th and 11th Centuries: Textiles and Manuscripts and Their Implications for Ottonian Court Culture," 37th International Congress on Medieval Studies, Kalamazoo, Mich., May 2002.
• "Theophanu's Gift and the Impact of Byzantine Silk on German Illuminated Manuscripts," Focus on Byzantine Textiles, Dumbarton Oaks workshop, September 2000.

• ARTH 100 Survey of Western Art I
• ARTH 281 Ancient Art and Architecture
• ARTH 282 Medieval Art and Architecture
• ARTH 335 Early Christian and Byzantine Art and Architecture

2007

Martin-Gropius Museum and Zeitgeist Gesellschaft, Berlin; gallery co-director, Deitch Projects, New York; independent curator, New York; teaching assistant, Hunter College, CUNY, New York; gallery director, Firehouse Art Gallery, Nassau College, SUNY; art history instructor, Nassau College, SUNY, 2000-2005; contributor to Art Review, Performing Arts Journal, Tema Celeste, Chigago Art Journal, among other publications

Publication and teaching record, curatorial projects

Short-list for 2002 Fullbright Fellowship; CUNY Mall Fellowship (1999-2000); CUNY Teaching Fellowship (Hunter College), 1999-2000

College Art Association, SECAC, ART Table, Society for Photographic Educators

• "Girls and Goods: Amerikanismus and the Tiller-Effect" in The International New Woman in Film and Photography, eds. Elizabeth Otto and Vanessa Rocco (University of Michigan Press, 2011).
• SECAC, Richmond, 2010 (paper presented)
• "Why Go Anywhere Else" (catalog essay), exhib. Curator, Blazo Kovacevic, SCAD, Painting Dept. and Contemporary Art Center, Montenegro (traveling to 6 locations in Montenegro and Serbia), Summer and Fall 2010.
• "Endless Supply: Felix Gonzalez-Torres Retrospective," Chicago Art Journal, University of Chicago, 2007.
• "This is What a Feminist Looks Like," Bonds of Love, exhibition catalog essay, curated by Lisa Kirk at John Connelly Presents, New York, 2005.
• "Taking Inventory: William Henry Fox Talbot," PART 8, Journal of the CUNY Ph.D. Program in Art History, 2003-2004.
• Quarterly reviews for Tema Celeste art magazine including Doug Hall, John Pilson, Stephen Hendee, Gabriel Orozco, Rachel Whiteread, Jonathan Calm, DJ Spooky, Tim Davis, 2001-2004.
• Cinema Studies Conference, Chicago , 1999 (paper presented)
• Co-organizer, Images for the Millenium: A Long Island Focus on Photography, The Long Island Center of Photography, October 17, Nassau County Community College, 1998.
• Celluloid Cave (an exhibition of art film including: Martin Kersels, Sharon Lockhart, Liisa Roberts, Dara Friedman, Marijke van Warmerdam, Tacita Dean, Karsten Bott, Karl Kels, Tag Purvis), curated by Dara Friedman, Thread Waxing Space, May 10-June 7, 1997, interviews with the artists, exh. cat.
• Do-It-Yourself (an exhibition of works by Phyllis Baldino, Dennis Vermuelen, Bill Smart), Margaret Harvey Gallery, University of Hertfordshire, England, April 23-May 1997, exh. cat.
• Bill Viola: Fire, Water, Breath, Performing Arts Journal, Johns Hopkins University Press, May 1997, Vol. XX, No. 2.
• Nobody Will Give You Freedom. You Have to Take It: Meret Oppenheim, Beyond the Teacup, Performing Arts Journal, Johns Hopkins University Press, September 1996, Vol. XIX, No. 1.
• Michael Joseph: Proxy, Zing Magazine, Volume 3, Fall 1996.
• Spiritual Minimalism: The 1995 Carnegie International Exhibition, Performing Arts Journal, Johns Hopkins University Press, May 1996, Vol. XVIII, No. 3.
• Gary Hill at the Guggenheim Museum SoHo: Reading the Body vs. Touching the Text, Performing Arts Journal, Johns Hopkins University Press, September 1995, Vol. XVII, No. 2.
• A Free-Flowing Geometry, Performing Arts Journal, Johns Hopkins University Press, January 1995, Vol.XVII, No. 1.

"The discussion of art and visual culture in the SCAD classroom generates layers of ideas and exchange. After working in the art world in Berlin and New York and gaining experience as a curator, a gallery director, and an art writer, I realized that working with my students, especially art and design students, allowed me to discuss ideas and art in the most exciting, experimental and constantly invigorating mode."

• ARTH 207 20th-century Art
• ARTH 340 Art Since 1945

2007

Have taught art history for twenty years

Teaching and researching in the area of New Media Art

"Dialogue with the Masterpiece: Peter Greenaway's Innovative Approach," paper presented at the Southeastern College Art Conference Annual Conference, October 24, 2009.

"High appreciation for art history while a studio art student in college."

• ARTH 207 Twentieth-Century Art
• ARTH 265 Survey of New Media Art
• ARTH 340 Art Since 1945
• ARTH 701 Contemporary Art

SCAD article:

• "SCAD Presidential Fellowships promote unparalleled opportunities for SCAD professors"

2009

Lecturer and associate member of the graduate faculty, department of art and art history, University of New Hampshire, 2000-2001; assistant professor, department of fine arts, Kean University, 2001-2003; assistant professor, art department, The City College of New York, CUNY, 2003-2008; Rush H. Kress Fellow, Villa I Tatti, Harvard University Center for Italian Renaissance Studies, 2008-2009

Rush H. Kress Fellow, Villa I Tatti, The Harvard University Center For Italian Renaissance Studies, 2008-2009; research project: "Burial Practices in Renaissance Florence"

2005 Scott Opler JSAH Fellowship, Society of Architectural Historians; Phi Alpha Theta History Honor Society, Phi-Tau Chapter, Emory University Chapter, 1992; Phi Sigma Iota Foreign Language Honor Society, Emory University Chapter, 1992; Phi Sigma Iota Awards: Excellence in Italian (1992) and Spanish (1989), Emory University

College Art Association (member since 1994); Italian Art Society (member since 2000); Renaissance Society of America (member since 2000); Society for Italian Historical Studies (member since 2011)

BOOK
The Badia of Florence: Art and Observance in a Renaissance Monastery. Bloomington: Indiana University Press, 2011 (in press).

ARTICLES AND ESSAYS

• The Church and Desert Fathers in Early Renaissance Florence: Further Thoughts on a "New" Thebaid. In New Studies on Old Masters: Essays in Renaissance Art in Honour of Colin Eisler, edited by John Garton and Diane Wolfthal, 221-34. Essays and Studies, edited by Konrad Eisenbichler, 26. Toronto: Centre for Renaissance and Reformation Studies, 2011.
• Reassessing the murals in the Chiostro degli Aranci. The Burlington Magazine 149:1252 (July 2007): 460-70.
• Technology and the Teaching of Art History. Visual Resources Association Bulletin, guest edited by Jenni M. Rodda, 34: 2 (Summer 2007): 8-12.
• Michelangelo's Last Judgment: The Culmination of Papal Propaganda in the Sistine Chapel. Studies in Iconography 27 (2006): 103-56.
• Architectural Collaboration in the Early Renaissance: Reforming the Florentine Badia. The Journal of the Society of Architectural Historians 64: 2 (June 2005): 204-33. [Winner: 2005 Scott Opler JSAH Fellowship, Society of Architectural Historians]

REVIEWS

• Review of Michelangelo in Print: Reproductions as Response in the Sixteenth Century by Bernadine Barnes and Michelangelo. The Artist, the Man and his Times by William Wallace. caa.reviews (March 8, 2011), doi: 10.3202/caa.reviews.2011.29.
• Titian Takes a Three City Tour. The Newsletter of the Italian Art Society 23, no. 1 (Winter 2011), 2-3.
• Review of Titian and the Golden Age of Venetian Painting by Edgar Peters Bowron, ed. Exh. cat. Atlanta, Minneapolis, and Houston, 2010. caa.reviews (December 23, 2010), doi: 10.3202/caa.reviews.2010.149.
• Leonardo in Atlanta and Los Angeles. The Newsletter of the Italian Art Society 22, no. 2 (Spring 2010), 2-4.
• Review of Leonardo da Vinci: Hand of the Genius, High Museum of Art, Atlanta, Ga., October 6, 2009 - February 21, 2010. caa.reviews (April 14, 2010), doi: 10.3202/caa.reviews.2010.41, http://www.caareviews.org/reviews/1436.
• Mazzoni and Begarelli. Modena. The Burlington Magazine 151 (July 2009), 493-94.
• Fra Angelico. Florence and Rome. The Burlington Magazine 151 (June 2009), 417-19.
• Review of The Renaissance Palace in Florence: Magnificence and Splendour in Fifteenth-Century Italy by James R. Lindow. Renaissance Quarterly 61:2 (Summer 2008), 530-32.
• Review of The Gates of Paradise. Lorenzo Ghiberti's Renaissance Masterpiece: A Symposium. The Metropolitan Museum of Art, New York, NY. November 16, 2007. caa.reviews (April 9, 2008), doi: 10.3202/caa.reviews.2008.32, http://www.caareviews.org/reviews/1103.
• Review of The Gates of Paradise: Lorenzo Ghiberti's Renaissance Masterpiece, by Gary M. Radke, ed. caa.reviews (April 9, 2008), doi: 10.3202/caa.reviews.2008.33, http://www.caareviews.org/reviews/1102.

CONFERENCE PARTICIPATION

• RENAISSANCE SOCIETY OF AMERICA, Montreal, QC 2011

• Panels: Burial and Commemoration in the Early Modern Mediterranean I and II (co-organizer)

• Paper: Burial Practices in Renaissance Florence, ca. 1250-1480 (speaker)

• COLLEGE ART ASSOCIATION, New York, NY 2011
• Panel: Artist's Biographies from Antiquity to the Present. Italian Art Society Short Session (chair)
• COLLEGE ART ASSOCIATION, Chicago, IL 2010
• Roundtable: Professing Art: pedagogical best practices for teaching art history (co-chair)
• RENAISSANCE SOCIETY OF AMERICA, Chicago, IL, 2008
• Panel: Renaissance Rulers Construct Identity
• Paper: An Ideal Circle of Friends: Federico da Montefeltro's Cycle of Famous Men at Urbino
• RENAISSANCE SOCIETY OF AMERICA, Miami, FL, 2007
• Panel: The Life of St. Benedict in Medieval and Renaissance Italy (organizer)
• Paper: Look to the Book: Images of Authority at the Florentine Badia (speaker)
• COLLEGE ART ASSOCIATION, New York, NY, 2007
• Panel: Cloisters: Urban Politics and the Monastic Ideal
• Paper: Cloister, Control, and Community: Art and Observance at the Florentine Badia
• SOCIETY OF ARCHITECTURAL HISTORIANS, Savannah, GA, 2006
• Panel: Spatial Negotiation in Medieval and Renaissance Cities, 1200-1600
• Paper: Claiming a City Corner: The Medieval Transformation of Piazza Sant'Apollinare, Florence [Winner: Scott Opler Endowment for Emerging Scholars Travel Stipend]
• RENAISSANCE SOCIETY OF AMERICA, Cambridge, UK, 2005
• Paper: The Politics of Piety at the Badia Fiorentina (1419-1439)
• COLLEGE ART ASSOCIATION, Atlanta, GA, 2005
• Panel: Moving Forward: Real-World Teaching beyond the Assistantship
• Paper: An Art History Classroom of One's Own: Strategies and Survival Skills for 'Real-World Teaching' [Winner: College Art Association Annual Conference Travel Grant]
• RENAISSANCE SOCIETY OF AMERICA, New York, NY, 2004
• Panel: Italian Mural Painting, 1430-1510
• Paper: Looking Beneath the Surface: Mural Painting at the Badia Fiorentina (1435-39)

"My research and participation in conferences gets me excited about changes and developments in my field, which I am always eager to incorporate into my classes. Though the Renaissance took place long ago, we are always learning more about the period, thus gaining deeper understanding of the past and of ourselves today."

• ARTH 100 Survey of Western Art I
• ARTH 110 Survey of Western Art II
• ARTH 204 17th-century Art
• ARTH 308 Northern Renaissance Art
• ARTH 381 Italian Renaissance Art

scad.academia.edu/AnneLeader

2010

Art History Instructor, Florida State University; adjunct professor of Art History, Barry University; teaching assistant, Florida State University; research assistant, Museum of Fine Arts, Florida State University; gallery assistant, McIlroy Gallery, Mattie Kelly Arts Center, Northwest Florida State College; research assistant, Diego Rivera Archives, City College of San Francisco

Personal chef for Francis Ford Coppola, credited on The Rainmaker

Penelope Mason Travel Grant; Penelope Mason Dissertation Writing Fellowship; Eudora Welty Society Travel Grant; FSU Graduate School Dissertation Research Grant; Patricia Rose Teaching Fellowship; FSU College of Visual Arts, Theatre & Dance Leadership Forum; Congress of Graduate Students Travel Grant; FSU Program for Instructional Excellence Teaching Certificate; Patricia Rose Masters Fellowship; I.N. Winbury Book Award; UWF College of Arts and Sciences Outstanding Student of the Year

College Art Association (CAA); Society for Photographic Education (SPE); Society for the Preservation of American Modernism (SPAM); Southeastern College Art Conference (SECAC); The Eudora Welty Society (EWS)

Articles

• "Eudora Welty's Making a Date, Grenada, Mississippi, c. 1930-35: One Photograph, Five Performances." In Eudora Welty and Issues of Race. Ed. Harriet Pollack (forthcoming 2011).
• "Parody as Political Tool in Patricia Cronin's Memorial to a Marriage." Mosaic: A Journal for the Interdisciplinary Study of Literature 43:2 (2010): 79-94.
• "Evoke/Invoke/Provoke: A Case Study of Judy Chicago's Feminist Pedagogy, Vanderbilt University, Spring Semester 2006." In Florida without Borders: Women at the Intersections of the Local and Global, 141-60. Eds. Sharon Kay Masters, Judy A. Hayden, and Kim Vaz. Newcastle: Cambridge Scholars Press, 2008.
• "The Country Cousin: Advocating an Arcadian America." Athanor 26 (2008): 81-89.

Exhibition Catalogues

• "Art Over Text: Discovering the Art of the Book," Strozier Library's Special Collections Exhibition Gallery, 5 December 2008 - 30 January 2009.
• "The Brilliant Hand: Exhibit of Medieval Manuscript Facsimiles," Strozier Library's Special Collections Exhibition Gallery, 2 - 13 March 2009.
• "Judy Chicago and the Origins of Collaborative Feminist Art," Origins and Legacies of the Women's Art Movement: Women's Art, Women's Voices, Special Exhibition in association with The National Feminist Art Project, Walmsley Gallery, FSU Museum of Fine Art and Strozier Library, Fall 2006.

Selected Presentations
SCAD Art History and Liberal Arts Lecture Series (Atlanta, Georgia); "Captioning the Image: Parody and the Grotesque in Erskine Caldwell and Margaret Bourke-White's You Have Seen Their Faces"; Ivy Hall Lecture Series, SCAD-Atlanta (Atlanta, Georgia); "Eudora Welty's Making a Date, Grenada, Miss.: One Photograph, Five Performances"; South Atlantic Modern Language Association (Atlanta, Georgia); "One Time: One Place?: The Political Performance of Photography"; Southeastern College Art Conference (Mobile, Alabama); "Diachronic Readings: Eudora Welty's 1930s Photographs"; American Literature Association (Boston, Massachusetts); "'Black Saturday: Eudora Welty's Unpublished Photographic Essay of Depression-era Mississippi"

"As an art historian specializing in the history of photography, I am particularly interested in the intersection of word and image and how they interact to construct meaning. The desire to share my passion for art and literature with students not only inspires me in the classroom, but I am continually impressed by the ways in which their energy, creativity, and enthusiasm enhances my research."

• PHOT 238 History of Photography I
• PHOT 240 History of Photography II
• ARTH 207 20th-century Art
• ARTH 226 American Arts

2007

Lecturer, art history department, Emory University (2009); Dean's Teaching Fellow, art history department, Emory University (2005-2006); teaching associate, Art History Department, Emory University (2003-2004); Andrew W. Mellon Intern, departments of conservation and contemporary art, Michael C. Carlos Museum (2002); teaching assistant, Art History Study Abroad Program in France, Emory University (2002); teaching assistant, art history department, Emory University (2001-2002, 2004); research assistant, art history department, Emory University (2000-2001)l; research assistant, The Metropolitan Museum of Art, modern art department, New York, New York (2000); curatorial assistant, The Metropolitan Museum of Art, modern art department, New York, New York (1999-2000); project coordinator, Nancy Rosen Incorporated (independent art consulting firm), New York, New York (1997-1999)

Completion of doctorate, receipt of national grant (namely, the Smithsonian Pre-doctoral Fellowship), and opportunity to present research nationally and regionally

Smithsonian Institution Pre-doctoral Fellowship, Smithsonian American Art Museum and Archives of American Art, Smithsonian Institution (2006-2007); Mellon Dissertation Seminar Fellowship, Emory University (2006); Dean's Teaching Fellowship, Emory University (2005-2006); The Henry Luce Foundation American Art Dissertation Research Award, Art History Department, Emory University (2005); Graduate School of Arts and Sciences Fellowship, Emory University (2004-2005); Research Travel Grant, Art History Department, Emory University (2001, 2002); Woodruff Fellowship, Graduate School of Arts and Sciences, Emory University (2000-2004)

College Art Association, Southeastern College Art Conference

Presentations

• 2011. "Lost Art Project: Forging Collaboration and Exchange in the Art History Classroom." "Two-by-Two: Collaborative Exchange and the Classroom" Panel, Joint Annual Conference of the Southeastern College Art Conference and the Mid-America College Art Association, Savannah College of Art and Design, Savannah, Georgia (paper accepted for upcoming November 2011 conference).
• 2011. "The Current State of Art Criticism." Docent Lecture Series, High Museum of Art, Atlanta, Georgia.
• 2011. "Methodological Approaches to Reading Art." Docent Lecture Series, High Museum of Art, Atlanta, Georgia. 2010. "Re-Situating Site-Specificity: Place and Time on View at Dwan Gallery." "Mediating Architecture" Panel, Joint Annual Conference of the Southeastern College Art Conference and the Mid-America College Art Association, Virginia Commonwealth University School of the Arts, Richmond, Virginia.
• 2009. "Early Twentieth-Century Art: From Matisse to Dalí." Undergraduate Art History Lecture Series, Emory University, Atlanta, Georgia.
• 2008. "From the Beginning: Locating Site-Specificity." Art History/Liberal Arts Lecture Series, The Savannah College of Art and Design, Atlanta, Georgia.
• 2008. "Place - At the Intersection of Form and Concept." Keynote Address, "Sculptural Concepts: 1962-2007" Exhibition opening, Western Michigan University, Kalamazoo, Michigan.
• 2007. "Sculpture in Environment: Placing Art in the City." Cleveland Symposium, Case Western Reserve University Department of Art History and The Cleveland Museum of Art, Cleveland, Ohio.
• 2006. "On Site-Specificity: A Prelude." Smithsonian American Art Museum, Smithsonian Institution, Washington, D.C.
• 2006. "'Sculpture as Place': The Development of Installation in American Art of the 1960s." Graduate Student Symposium, Emory University, Atlanta, Georgia.

Publications

• "Accumulated Vision, Barry Le Va," Artforum 43:5 (January 2005): 64. [Exhibition preview of Le Va show at the Institute of Contemporary Art, Philadelphia.]
• "Robert Morris," Artforum 43:5 (January 2005): 92. [Exhibition preview of Morris show at Centro per l'arte Contemporanea Luigi Pecci, Prato, Italy.]
• Exhibition wall texts, Art of the Ancient Americas permanent collection, Michael C. Carlos Museum, 2002.

"As a professor, I aim to deepen students' knowledge, understanding, and appreciation of the history of art and to instill art history as a resource for their own creative practices. I aspire to challenge students' thinking; to sharpen their visual analytical skills, verbal skills, and written skills; and to, hopefully, incite in them a bit of the passion that I have for the study of art history. My interactions with my students continue to renew my enthusiasm for the discipline and refine my own art historical research and writing."

• ARTH 100 Survey of Western Art I
• ARTH 110 Survey of Western Art II
• ARTH 205 19th-century Art
• ARTH 207 20TH-century Art
• ARTH 340 Art Since 1945
• ARTH 343 Installation and Environmental Art
• ARTH 701 Contemporary Art
• ARTH 702 Art Criticism

2009

Visiting instructor, Western Carolina University; visiting assistant professor, Michigan Technological University; visiting assistant professor, Pennsylvania State University; visiting assistant professor and lecturer, Washington University in St. Louis; standing structures survey coordinator, Alabama Historical Commission; adjunct faculty, Troy State University in Montgomery; Archaeological Laboratory Supervisor, Monticello/Thomas Jefferson Memorial Foundation

Scott Opler Emerging Scholar Fellowship, Society of Architectural Historians, 2009; Robert D. MacDougall Memorial Scholarship, Cornell University, 2004; A. Henry Detweiler Fund Research Grant, Cornell University, 2003; Lam Family Foundation Travel Grant for Research on South China, 2003; Lam Family Foundation Travel Grant for Research on South China, 2002; Cornell University International Studies in Planning Grant, 2002; A. Henry Detweiler Fund Research Travel Grant, Summer 2002; Graduate Student Transportation Grant, 2001; Vernacular Architecture Forum Student Fellowship Funding, 2001; Distinction in the History of Art Major, Yale University, 1993; A. Conger Goodyear Fine Arts Award, Yale University, 1993; Richter Summer Fellowship Grant, Yale University, 1992

• Association for Asian Studies
• Society of Architectural Historians
• Vernacular Architecture Forum

Articles and Essays:

• Chapter, "Dwelling Factors: Western Merchants in Canton," in Carole Shammas, ed. Investing in the Early Modern Built Environment: Europeans, Asians, Settlers and Indigenous Societies, 2012
• Chapter, "Treaty Ports of China and the West's Architectural Presence," in Carola Hein, ed. Port Cities: Dynamic Landscapes and Global Networks, 2011
• Article, "Thirteen Factories of Canton: An Architecture of Sino-Western Collaboration and Confrontation," in Buildings and Landscapes: Journal of the Vernacular Architecture Forum, Vol. 14, 2007.

Reviews:

• "Examining the Chinese City," on three recent texts on Chinese art, architectural, and urban history for Journal of Urban History, 2012
• Review on Sherman Cochran and David Strand, eds. Cities in Motion: Interior, Coast, and Diaspora in Transnational China in Planning Perspectives, Vol. 26, No. 3, July 2011
• Review on Duanfang Lu, Remaking Chinese Urban Form: Modernity, Scarcity, and Space, 1949-2005 in Journal of the Society of Architectural Historians, March 2008
• Review on Peter Rowe and Seng Kuan, Architectural Encounters With Essence and Form in Modern China and Rowe and Kuan, eds. Shanghai: Architecture & Urbanism for Modern China in Journal of the Society of Architectural Historians, June 2006
• Review on Marilyn Casto, Actors, Audiences, and Historic Theaters of Kentucky, in Vernacular Architecture Newsletter, Summer 2001
• Review on Kai Yin Lo, Living Heritage: Vernacular Environment in China, in Vernacular Architecture Newsletter, Winter 2001

Invited Presentations:

• "Cultivation of Modernity in Chinese Architecture and Urbanism, Prelude and 1911-1929" for Adaptation and Invention: A Century of Chinese Architecture 1911-2011 lecture series of Chinese University of Hong Kong and ZUNI Icosahedron, November 5, 2011
• "The Thirteen Factories of Canton: A Provisional Presence," for Permanence and the Built Environment in the Pacific Basin Conference at USC-Huntington Early Modern Studies Institute, April 17-18, 2009
• "China's Treaty Ports: Dynamics of Global and Local in the West's Architectural Presence," for Workshop and Conference on Global Port Cities and Networking at Bryn Mawr College, November 16-17, 2008
• "Dwelling on the Edge of Empires: Foreigners, Architecture, and Canton, China," Annual Linda Memorial Lecture on Asian Art, Palmer Art Museum, Pennsylvania State University, March 7, 2007
• "Identifying Rural Historic Districts" at Auburn University Transportation Conference (Department of Engineering) in Montgomery, Alabama, February 11, 1999
• "Fiske Kimball and Stratford Hall" at U. Va. Fiske Kimball Library 25th Anniversary Symposium, November 19, 1995

"One of my chief inspirations for teaching is the sudden, sometimes surprised, look of comprehension on students' faces when exposed to new works and ideas."

• ARTH 100 Survey of Western Art I
• ARTH 110 Survey of Western Art II
• ARTH 205 19th Century Art
• ARTH 220 Survey of Asian Art
• ARTH 271 Art of China
• ARTH 285 Power and the Arts in Asia
• ARTH 286 The Art of Japan
• ARLH 206 Modern Architecture I: 1750-1900
• ARLH 208 Modern Architecture II: 1900-Present
• ARLH 211 Survey of World Architecture and Urbanism

"My interests lie in the interactions between Asia and the West in art, architecture, and other fields of material culture. Urban China's architecture and art have been my primary focus within this broader enquiry. I also have a strong interest in landscape and topographical art, and what they mean in the production and reception of ideas of place."

2012

2011

2007

Beverly Elson spent many years as an educator in Washington, D.C. She is a generalist with a great interest in architectural history; her major areas are 19th-century American art and architecture and 17th-century Dutch painting, prints and drawings. Other areas include Rococo through Impressionism, 20th-century art and contemporary art. She is also a practicing collage artist who exhibits nationally and internationally.

NEH Grant for College Teachers, summer, 1992; NEH Grant for College Teachers, summer, 1989; nominated by Southeastern University in both 1988 and 1989 for the CASE Professor of the Year award; NEH Grant for College Teachers, summer, 1985; two Fulbright Grants: Saigon, Vietnam

Board member on the Washington Color School Project; Center for the Advanced Study of the Visual Arts, National Gallery of Art, Washington, D.C.; College Art Association; National Society of Arts and Letters (Washington chapter); Society of Architectural Historians (Latrobe chapter); Society for Emblem Studies; Cosmos Club, Washington, D.C.

Selected publications
"Visions of America," catalog for the art exhibition in the American Embassy, Sweden.

Selected exhibitions

• Lessedra Gallery in Sofia, Bulgaria, December 15, 2010-February 15, 2011. International juried show.
• MOCA-DC Gallery, Georgetown, Washington, D.C., August 2008.
• International Art Exhibition in the Cairo Opera House in Egypt, September 2006.
• "Art Show: International American Artists AlAhram Artists" (group exhibition), Cairo, Egypt, October 2005.
• "New Delhi 4 India" (group exhibition), All India Fine Arts and Crafts Society, New Delhi, India, November 2004.
• Sam Rayburn House Office Building, as a joint project between the Embassy of Egypt and Congress, February 2006.

Selected presentations

• "The Windows of the National Presbyterian Church," Building Spiritual Washington symposium, Society of Architectural Historians, Washington, D.C., March 2007
• "Current Views of the American Presidency," Art History Focus Week, Savannah College of Art and Design, March 1993
• Gallery talk on American Impressionism and the Ash Can School, Telfair Museum, Savannah, Georgia, March 1992
• "Art Power on the Rise: Artists' Rights," Annual Conference of the Institute for International Development and Strategic Studies, Southeastern University, August 1989
• "American Artists Look at the American Presidency," 14th annual conference on Social Theory, Politics, and the Arts, The American University, October 1988

"The world."

• ARTH 100 Survey of Western Art I
• ARTH 110 Survey of Western Art II
• ARTH 205 19th-century Art
• ARTH 207 20th-century Art
• ARTH 226 American Art
• ARTH 340 Art Since 1945
• ARTH 701 Contemporary Art

Beverly Elson incorporates her extensive knowledge of art history in the creation of her collages.

1999

Jonathan Field, Ph.D., is an experienced lecturer and artist with extensive knowledge in coordinating a range of art education programs. He is committed to an interdisciplinary model of art education and has established a strong exhibiting portfolio. His area of expertise is the 20th century, particularly the post-War period, with a focus on the relationship between postmodern American literature and visual representation.

Inclusion in Marquis Who's Who as educator of note, 2006; SCAD Presidential Award, 2003

SCAD press release:

• "SCAD announces SECAC 2011, Text + Texture: An Intersection of Academics and the Arts Juried Exhibition Winners"

• "Sisyphus," Saltworks Gallery, Atlanta; Forum Gallery, Cranbrook Academy of Art; and the Sarai Media Lab, New Delhi, India. Also broadcast as part of "Indie Show Case," hosted by Cox Communication, Georgia.
• SECAC/MACAA Exhibition (juried), Parthenon Gallery, Nashville, Tennessee.
• "Shimmer," Transcultural Exchange, Boston, Massachusetts.
• "Horizons," Red Gallery, Savannah, Georgia.
• "Monster," STARCCA Gallery, Savannah, Georgia.
• "60 Seconds of Play," Saltworks Gallery, Atlanta, Georgia, and Forum Gallery, Cranbrook Academy of Art.

• ARTH 100 Survey of Western Art I
• ARTH 110 Survey of Western Art II
• ARTH 207 20th-century Art
• ARTH 255 French Modernism
• ARTH 340 Art Since 1945
• ARTH 701 Contemporary Art
• ARTH 702 Art Criticism

jonathanfield.org

1994

Exhibition Curator, Hudson River Museum; Exhibition Consultant, New Jersey City University; Exhibition Consultant, Stevens Institute of Technology; Fundraiser, "Women, Art, and Intellect," curated by Leslie King-Hammond and installed by Lowery Stokes Sims, Ceres Gallery; Graduate Assistant, Vanderbilt University; Graduate Assistant, Case Western Reserve University; Lecturer, University of Miami; Visiting Scholar, The Institute for Women and Art, Rutgers University; Professor, SCAD; Art History Chair, SCAD; Dean of the School of Fine Arts, SCAD; and Dean of Academic Research/Faculty Development, SCAD.

Fulbright Senior Specialists Roster, SCAD Presidential Fellow, Butkin Dissertation Fellowship, Case Western Reserve University Department of Art and Art History Scholarship, Eva M. Pancoast Memorial Fellowship for International Travel, Case Western Reserve University Art and Art History Travel Award, Case Western Reserve University Stone Fellowship, Vanderbilt University Graduate School Travel Award for Research, Vanderbilt University Department of Fine Arts Scholarship, Tonya Internship Award, Who's Who in American College and University Students, and Rotary International Tuition Scholarship.

ArtTable, College Art Association, Institute for Women and Art, Rutgers University, Southeastern College Art Conference, The Feminist Art Project, and Women's Caucus for the Arts.

Publications:

• Feminist Art Workers (contributor)
• Symptom
• Multimedia Encyclopedia of Women in Today's World (contributor)
• make/shift: feminisms in motion
• Art Papers
• BITCH Magazine
• ArtPulse (contributing writer and contributing editor)
• Journal of Lesbian Studies
• Grove Encyclopedia of American Art (contributor)
• The Brooklyn Rail
• Critical Matrix: The Princeton Journal of Women, Gender, and Culture
• Art History: A View of the West (Instructor's Resource Guide with Test Item File), (Prentice-Hall; third edition; contributor)
• n.paradoxa: international feminist art journal
• Instructor's Manual and Test File for Marilyn Stokstad, Art History (third edition; contributor)
• Feminism Reframed: Reflections on Art and Difference
• symploke
• NY Arts Magazine
• New Makers of Modern Culture (contributor)
• Encyclopedia of Sculpture (third edition; contributor)
• Fine Art Forum
• Contemporary Artists Encyclopedia (contributor)
• Woman's Art Journal
• Savannah College of Art and Design Exhibition Catalogues
• Bulletin of the Detroit Institute of Arts
• The Cleveland Museum of Art Bulletin
• Mosaic Magazine

Books:

• "Female Sexualities in Contemporary Art" (in process)
• "The Question of the Girl," anthology co-edited with Jillian St. Jacques (in process)
• "History of New Genre and New Media: From John Cage to Now (Prentice Hall, in process)
• Pattern and Decoration: An Ideal Vision in American Art," 1975-1985 (Hudson River Museum)

Panels, paper presentation, or public lectures:

• College Art Association Annual Conference
• Visual Arts Center of New Jersey
• New Jersey Council on Humanities
• Otis Institute of Art
• Rutgers University
• Art Educators of New Jersey Annual Conference
• National Women's Studies Association Annual Conference
• Annual Conference of the Southeastern College Art Conference
• Montclair State University Visiting Artists and Critics Series
• Stevens Institute of Technology
• Annual Southeastern Women's Studies Association Conference
• Hudson River Museum
• Pollock-Krasner House
• Obihiro Museum of Art
• Hakodate Museum of Art
• Kitakyushu Municipal Museum of Art
• Fukuoka American Center
• Museum of Contemporary Art, Tokyo
• Sendai Friendship Forum
• Tohoku University
• Open University, Sendai, Japan
• Kansai American Center
• Miyazaki International College
• Kyoritsu Women's University
• Tama University Art Museum
• Barnard College Feminist Art and Art History Conference
• Southern California Women's Caucus for the Arts
• Electronic Imaging and the Visual Arts, Cambridge, England
• Telfair Museum of Art
• The University of Iowa's Program for Modern Studies in the History of Art
• International Association of the Fantastic in the Arts Conference
• Indiana University

• ARTH 100 Survey of Western Art I
• ARTH 110 Survey of Western Art II
• ARTH 207 20th-century Art
• ARTH 265 Survey of New Media Art
• ARTH 295 Off-campus Special Topics in Art History
• ARTH 340 Art Since 1945
• ARTH 343 Installation and Environmental Art
• ARTH 350 Survey of Women in Art
• ARTH 373 New York as an Art Capital of the World
• ARTH 384 Art Highlights: Washington D.C.
• ARTH 701 Contemporary Art
• ARTH 702 Art Criticism