The Getty Research Institute Announces 2001-2002 Getty Scholars
October 2, 2001
Los Angeles--The Getty Research Institute of the J. Paul Getty Trust today announced the selection of 11 Getty Scholars to be in residence beginning this fall. Each year, the Research Institute brings together scholars and artists from around the world to work on projects related to a theme central to the concerns of art history; the theme in 2001-2002 is "Frames of Viewing: Perception, Experience, Judgment."
Through the residential scholars program and related exhibitions, lectures, films, and conferences, this year's focus on frames of viewing will connect the arts with the cognitive sciences, history, anthropology, philosophy, film, and media studies. Thomas Crow, director of the Getty Research Institute, notes, "Art historians are often better at explaining how works of art are made than how they are seen, but no work has meaning without its spectators, including the artist who created it. The knowledge and insight of many disciplines informs this process, and we're looking forward to a year of intense discussions and real advances into new territory."
Since 1985, more than 300 scholars, artists, architects, filmmakers, composers, and writers have pursued individual and collaborative projects while in residence at the Getty Research Institute. The 2001-2002 scholars are Mieke Bal, Benjamin H.D. Buchloh, Chloe Chard, Charles Harrison, John Hyman, Lawrence Kruger, Jacqueline Lichtenstein, Jerry Moore, Deanna Petherbridge, Dennis L. Sepper, and Terence Smith. The scholars come to the Getty Research Institute from the U.S. and abroad; they will be joined by 11 visiting scholars and two new predoctoral and postdoctoral fellows. A complete list of participants is below.
Next year (2002-2003), the Getty Research Institute's theme will be "Biography." Applications are being accepted until November 1, 2001. Application forms are available online at www.getty.edu/grants or from the Getty Grant Program, 1200 Getty Center Drive, Suite 800, Los Angeles, CA 90049-1685, U.S.A., 310-440-7374 (phone), 310-440-7703 (fax), email@example.com (e-mail).
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October is National Arts and Humanities Month.
Getty Scholars in Residence
Getty Research Institute September 2001 - June 2002
Mieke Bal is professor of literary theory at the University of Amsterdam, The Netherlands. Her project explores the contribution of the concept of "framing" to cultural analysis, intertwining theoretical reflections on cultural habits that shape practices of looking at art with experimental inquiries into imaginative and practical possibilities (such as museum exhibitions) that would de-naturalize these practices.
Benjamin H.D. Buchloh is professor of art history in the department of art and archaeology, Barnard College/Columbia University, New York. He will complete his monographic study of the German painter Gerhard Richter, which seeks to establish several frameworks for viewing Richter's art, including his encounters with American and European avant-garde practices, and his negotiation of the dialectics of repression and historical memory in post-war German painting.
Chloe Chard is an independent scholar based in London. Her project is concerned with the Grand Tour during the 18th and early 19th centuries and the verbal and visual strategies used by travelers in confronting works of art. She pays particular attention to the role of laughter and comedy in the viewing of paintings and sculptures and in the attempts to construct confident and coherent commentary about them.
Charles Harrison is professor of the history and theory of art at the Open University, Oxford, United Kingdom. His project reconsiders the development of modern painting in the West from the 1860s to the 1990s in light of two major constructs: the thematization of the picture plane as a site of self-critical exchange, and the argument that gender should be considered a significant factor in the development and interpretation of modern painting.
John Hyman, fellow in philosophy at the Queen's College, Oxford, United Kingdom, will write a philosophical monograph on the nature of pictorial art. This work, informed by his study of the historical relationship between optics and art theory, will advance a theory of depiction critical of the predominant Cartesian tradition.
Lawrence Kruger is research professor of neurobiology in the School of Medicine of the UCLA Medical Center, Los Angeles, California. His current projects include historical essays on 17th-century comparative neurology, the construction of a Web site for the recent history of neuroscience, and a study of early contributions to multiple-frame imaging in France.
Jacqueline Lichtenstein is professor of philosophy at the University of Paris X, Nanterre, France. She will analyze how the question of vision, color, and painting was transformed in the second half of the 19th century and the new relationship that resulted between spectator and work of art.
Jerry Moore is associate professor of anthropology at California State University, Dominguez Hills. He is interested in the contribution recent research on visual and auditory perception may make to a better understanding of how built environments were experienced by ancient peoples, particularly in Mesoamerica and the Andes.
Deanna Petherbridge is an artist known for pen-and-ink drawings on paper with architectural, social, and political themes. She was until recently professor of drawing at the Royal College of Art, London. She will investigate the interrelationships among the practice, theory, and history of drawing.
Dennis L. Sepper is professor of philosophy at the University of Dallas, Texas. Among his current projects are a history of modern reconceptions of imagination that eliminated its cognitive uses in favor of fictional-creative ones, and an investigation into the possible foundations for developing a pluralistic philosophy of science that might accommodate both defenders and postmodern critics of science.
Terence Smith is director of the Power Institute, Foundation for Art and Visual Culture at the University of Sydney, Australia. His project seeks to elucidate the development of specifically modern and postmodern structures of seeing (structures analogous to perspective in the Renaissance) through an analysis of some crucial moments in Western art from the late 18th century to the present. Getty Visiting Scholars, 2001-2002
Georges Didi-Huberman is a philosopher and art historian who teaches at the Ecole des hautes études en sciences sociales, Paris. He will examine the phantasmatic conditions of the efficacy of religious images--such as the holy face or ex votos--as vehicles of empathy in late medieval and Renaissance Italian art.
John Elderfield is chief curator-at-large at the Museum of Modern Art, New York. His project addresses the crisis in the representation of narrative subject matter in modernist painting. He is concerned in particular with the internalization of narrative within the form of the execution, which effectively reallocated the narrative component of painting to its representation in the perception of the beholder.
William L. Fox is an independent scholar based in Los Angeles, California. He has been selected by the National Science Foundation (NSF) as a fellow in their Visiting Artists and Writers Program to travel to the Antarctic during the next few months. He will work on a history of how the continent has been pictured through cartography, painting, photography, and remote sensing.
Anne Friedberg is associate professor of film studies at the University of California, Irvine. Interested in the visual system of the frame and how the frame transforms that contained within it, she will investigate the history of one particular trope of framing, the window, from Alberti to Microsoft.
Valerie Gonzalez is lecturer in the history of Islamic art and architecture at the Ecole d'architecture de Marseille-Luminy, France. Taking a phenomenological approach to the art of the Alhambra, she will focus on problems of perception raised by the building, and on the aesthetic function of its representational features and geometrical intricacies.
Marian Hobson is a professor in the School of Modern Languages at Queen Mary, University of London. Her project focuses on physiognomy, têtes de caractère, and theories of portrait painting in the second half of the 18th century, and she will also be looking at how character is perceived in contemporary contexts, such as casting practices in film.
Ladislav Kesner, an independent scholar based in the Czech Republic, is also director of CMS/Lord Culture Consulting in Prague. He will assess the relevance of recent neuroscientific work on perception to contemporary art historical agendas and museum practices. In particular, he is interested in how the perceptual skills of the young affect their patterns of viewing and understanding works of art.
Andrew Parker teaches in the University Laboratory of Physiology at St. John's College, Oxford, United Kingdom. His project will be to examine the classical psychology of shape perception in light of mathematical descriptions of shape and form. He is interested in what computational vision can teach us about the human visual system.
Jean-Claude Schmitt is directeur d'études at the Ecole des hautes études en sciences sociales, Paris. He will be working on the Getty's collection of medieval manuscripts in preparing a book on the relationships between images and imagination in the Middle Ages.
Ernst van Alphen is professor of literature at Leiden University, The Netherlands. In exploring the contribution art can make to thought about social issues, he will analyze the means by which selected artists and works of art "do" cultural philosophy.
Mabel O. Wilson is associate professor of architectural design at the California College of Arts and Crafts, San Francisco. Her project focuses on two recently completed museums dedicated to African American culture and heritage--the National Civil Rights Museum in Memphis, Tennessee, and the Charles Wright African American Museum in Detroit, Michigan--and on the ideological frameworks within which they must sustain themselves. New Pre-Doctoral and Post-Doctoral Fellows, 2001-2002
Andrew Perchuk is a Ph.D. candidate in the department of history of art at Yale University, New Haven, Connecticut. In his dissertation "Mapping the Surface: Art and Modernism in Los Angeles, 1962-1972," he examines the perceptual investigations undertaken by a group of artists in Los Angeles, including collaborations with the region's aerospace industry.
Melissa Hyde is assistant professor of art history at the University of Florida, Gainesville. She received her Ph.D. from the University of California, Berkeley, in 1996. She will complete her book Making Up the Rococo: François Boucher and his Circle in the Age of Enlightenment, which re-frames the terms in which the Rococo has traditionally been discussed, and offers an account of the gout pittoresque within the context of elite culture and its politics of gender.
Continuing Pre-Doctoral Fellows, 2000-2002
S. M. Can Bilsel is a Ph.D. candidate in the School of Architecture at Princeton University, New Jersey. In his doctoral dissertaion, titled "Archaeological Reconstruction: The Original and Its Doubles (Pergamon Museum, 1905-1930)," he addresses the history of architectural reconstructions and their claims to authenticity in light of their modern displacement into the museum.
Maria Hsiuya Loh, a Ph.D. candidate in the department of history of art at the University of Toronto, investigates the history of collecting and the development of early modern taxonomies of art. She is researching stylistic appropriation in 17th-century painting for her dissertation, "The Negotiation of Venetian Old Master Style and the Economy of Wit in Seventeenth-Century Europe."
Continuing Post-Doctoral Fellows, 2000-2002
Kajri Jain received her Ph.D. in art history and theory from the University of Sydney, Australia in 1999 and is currently revising her dissertation, "Gods in the Bazaar: The Economies of Indian Calendar Art," for publication. She will expand the theoretical framework of her research as it pertains to the aesthetics of representation and problems of originality, authenticity, and circulation of images.
Michael Lobel received his Ph.D. in history of art from Yale University, New Haven, Connecticut, in 1999 with a dissertation titled "Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art." He is expanding his dissertation into a book and conducting new research on the work of artists concerned with the relation between mechanical reproduction and visual perception, technology, subjectivity, and desire.
Lisa Pon received her Ph.D. in history of art from Harvard University, Cambridge, Massachusetts, in 1999. She is researching and writing Printing Pictures/Photographing Prints: Art and Reproduction in Sixteenth-Century Italy and Nineteenth-Century France, an expansion of her dissertation, "Raphael, Dürer, and Marcantonio Raimondi: Drawn, Painted, and Printed Images in the Early Cinquecento."
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