The Getty Research Institute Announces 1999-2000 Getty Scholars
September 7, 1999
LOS ANGELES--This month, the Getty Research Institute welcomes another outstanding group of scholars and artists from around the world to the Getty Center. These Getty Scholars have been invited based upon the significance of their work in relation to the 1999-2000 research theme, "Humanities in Comparative, Historical Perspective," which focuses on the development of art history as a discipline in the context of the humanities. Individual research projects range from the study of Vasari’s art-historical writings in the 16th century to the 20th-century writings of Edgar Wind on the Sistine Ceiling; from early German interpretations of Raphael to 20th-century discourses on Jewish art; from medieval church architecture to avant-garde art.
"We look forward to welcoming the new Getty Scholars this year," says Deborah Marrow, interim director of the Getty Research Institute. "Their presence at the Getty Center, combined with their interaction with Getty staff and local colleagues, will contribute a vital and dynamic dimension to our examination of the history of art history in its humanistic context."
Adds Michael S. Roth, associate director of the Research Institute, "In this scholar year, we will be thinking about how research on the visual arts has proceeded in the past and how it has been enriched--or not--by work in the humanities generally. We expect that what we find will bear upon ongoing debates about the purpose and value of the visual arts and of the humanities."
Joining the Getty Scholars at the Research Institute will be six predoctoral and postdoctoral Fellows--now in the second year of their fellowships--and 27 Visiting Scholars who will be in residence for shorter periods of time. This year’s residential scholars are from Europe, North America, and Asia; the majority of them are art historians, but other disciplines represented include archaeology, history, literature, and philosophy.
Scholars in residence at the Research Institute will pursue their individual projects while sharing their ideas with one another in a weekly seminar. Throughout the year there will be frequent public lectures and events--creating opportunities for interaction among resident scholars, Getty staff, and the Los Angeles community.
In addition, Getty Scholars will have an opportunity to interact with other scholars who have received Getty Library Research Grants. These grants provide short-term support to scholars whose independent projects, which need not relate to the research theme of the year, would benefit from material in the collections at the Getty Research Library. Approximately 20 grants will be awarded throughout the academic year.
Scholars and Fellows will utilize the Getty Research Library, one of the largest art and architecture libraries in the world with nearly 800,000 volumes in its general collections. Special collections include manuscripts, rare books, prints, photographs, and archival materials, with particular strength in the history of art history. Other research materials are available at neighboring institutions, including the University of California at Los Angeles, the University of Southern California, the Huntington Library, Art Collections, and Botanical Gardens, and the Los Angeles Public Library.
Since 1985, more than 300 scholars, artists, architects, composers, filmmakers, and writers have been in residence at the Getty Research Institute. They have come from two dozen countries and include many of the world’s most dynamic and respected cultural experts. Themes of past scholar years include "Time and Ritual in Antiquity," "Perspectives on Los Angeles: Narratives, Images, History," and "Representing the Passions."
The theme of academic year 2000-2001 will be "Reproductions and Originals." For the first time since the residential scholar program began, Getty Scholar and Visiting Scholar Grants as well as predoctoral and postdoctoral Fellowships will be awarded through an open application process. Applications are welcome from scholars whose projects look at the study and experience of art from any part of the world in relation to technologies of reproduction--from the casting of bronzes in antiquity to photography in the last century and digitization today.
For more information, visit http://www.getty.edu/research/scholars/index.html, or call (310) 440-7392.
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1999-2000 GETTY SCHOLARS
David Carrier is a professor of philosophy at Carnegie Mellon University. He has written numerous publications in aesthetics and art history, including Artwriting (1987), Principles of Art History Writing (1991), Poussin’s Paintings: A Study in Art-Historical Methodology (1993), and High Art: Charles Baudelaire and the Origins of Modernism (1996). He will study how the changing nature of museums and art history departments has affected art historical arguments.
Timothy James Clark is a professor in the department of history of art at the University of California, Berkeley. His books include The Absolute Bourgeois: Artists and Politics in France, 1848-51 (1973), Image of the People: Gustave Courbet and the 1848 Revolution (1973), The Painting of Modern Life: Paris in the Art of Manet and His Followers (1985), and Farewell to an Idea (1999). He will conduct research on avant-garde art in New York and Paris from the late 1950s.
Heinrich Dilly is a professor of art history at Martin-Luther-Universität Halle-Wittenberg in Germany. His publications include Kunstgeschichte als Institution: Studien zur Geschichte einer Disziplin (1979), (edited) Altmeister moderner Kunstgeschichte (1989), and Ging Cézanne ins Kino? (1996). He is working on a bio-bibliography of art historians and studying the international and interdisciplinary development of art historiography in the early 20th century.
Lydia Goehr is a professor of philosophy at Columbia University. Her books include The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (1992) and The Quest for Voice: Music, Politics, and the Limits of Philosophy (1998). She is currently writing Unresolved Endings: Saying, Showing, and Singing in Modern Opera, a set of philosophical essays on modernist operas.
Thomas DaCosta Kaufmann is a professor in the department of art at Princeton University. His books include The School of Prague: Painting at the Court of Rudolf II (1988), The Mastery of Nature: Aspects of Art, Science, and Humanism in the Renaissance (1993), and Court, Cloister, and City: The Art and Culture of Central Europe, 1450-1800 (1995). He will write about the geography of art, a book on art-historical writings before Winckelmann, and a study of art in the Low Countries in the 16th, 17th, and 18th centuries.
Donata Levi is an associate professor of art history at the Università di Pisa in Italy. Her published work includes Giovan Battista Cavalcaselle: Il pioniere della conservazione dell’arte italiana (1988), (edited) L. Lanzi, Il taccuino veneto 1793-94 (1988); and, written with P. Tucker, Ruskin didatta. Il disegno tra disciplina e diletto (1997). She will continue writing her book provisionally titled The "Art of the Past" and its Uses: The Art Market and Museums in Great Britain and Italy in the Nineteenth Century.
Robert S. Nelson is a professor in the department of art history and chair of the Committee on the History of Culture at the University of Chicago. His publications include Theodore Hagiopetrites, A Late Byzantine Scribe and Illuminator (1991); (co-edited) Critical Terms for Art History (1996); "The Map of Art History," Art Bulletin (1997); and "Taxation with Representation: Visual Narrative and the Political Field of the Kariye Camii," Art History (1999). He will pursue his work on Byzantine art and the history and practice of art history—focusing in particular on the church of Hagia Sophia, Constantinople.
Margaret R. Olin is an associate professor at the department of art history, theory, and criticism at the School of the Art Institute of Chicago. Her publications include Forms of Representation in Alois Riegl’s Theory of Art (1992); "Lanzmann’s Shoah and the Topography of the Holocaust Film," Representations 57 (1997); and "From Bezal’el to Max Liebermann: Jewish Art in Nineteenth Century Art Historical Texts," in Jewish Identity in Art History: Ethnicity and Discourse (1999). Her current work focuses on the theoretical underpinnings of art making and the art historical discipline. She will complete a study of discourses about the concept of Jewish art in the 19th and 20th centuries.
Ernst Osterkamp is a professor at Humboldt-Universität Berlin. Among his publications are Lucifer: Stationen eines Motivs (1979), Im Buchstabenbilde: Studien zum Verfahren Goethescher Bildbeschreibungen (1991), and Rudolf Borchardt und seine Zeitgenossen (1997). His current project focuses on the German cult of Raphael: its emergence and course, its effect on art, literature, and philosophy, its cultural and historical manifestations, and its cultural and ideological functions.
Erika Rummel is an associate professor at the department of history at Wilfrid Laurier University in Canada. She is the author of many publications, among them Erasmus and His Catholic Critics (1989), The Humanist-Scholastic Debate in the Renaissance and Reformation (1995), and (edited) Erasmus on Women (1996). She will be studying Renaissance controversies resulting from conflicting cultural assumptions and biases, such as anti-Semitism and colonialism.
Elizabeth Sears is an associate professor at the department of history of art at the University of Michigan. She is the author of The Ages of Man: Medieval Interpretations of the Life Cycle (1986), "The Iconography of Auditory Perception in the Early Middle Ages" (1990), and "Ivory and Ivory Works in Medieval Paris" (1997). Her current projects include an edition of the published and unpublished writings of Edgar Wind about the Sistine Ceiling, a co-edited anthology titled Reading Medieval Images: The Art Historian and the Object, and several articles.
Catherine M. Soussloff is a professor of art history and Patricia and Rowland Rebele Chair in Art History at the University of California, Santa Cruz. Among her publications are The Absolute Artist: The Historiography of a Concept (1997) and Jewish Identity in Modern Art History (1999). Currently she is preparing a book titled After Aesthetics: Visual Representation in the Late Twentieth Century, an investigation of the history of some of the discursive conditions pertaining to the interpretation of visual culture today: media theory, feminism, and Jewish identity. Other projects include Gianlorenzo Bernini: The Lives of the Artist and Their Histories and several articles.
1998-2000 PREDOCTORAL AND POSTDOCTORAL FELLOWS
Completing the second year of their two-year residencies are six predoctoral and postdoctoral fellows:
Elspeth Brown, a Ph.D. candidate in the American Studies Department at Yale University, is studying the uses of photographic technology in rationalizing modern subjectivity in America. In her dissertation "Taylorized Bodies: Work, Photography, and Consumer Culture in America, 1890-1930" she is exploring how photography was used at the turn of the century by scientific managers and industrial psychologists to manufacture or control certain emotions in the work force. She is also investigating the role of the photographic image in advertising and the emerging mass consumer culture.
Francesco de Angelis of the Deutsches Archäologisches Institut in Rome studies the representation of myths in classical art. He is currently focusing on the significance of mythological images in the funerary art of Hellenistic Northern Etruria. He received his degree in classics from the Scuola Normale Superiore, Pisa with a thesis titled "La Periegesi di Pausania: il viaggio in Grecia e la fruizione delle opere d’arte nel II sec. d.C."
Otniel E. Dror received his Ph.D. from Princeton University. His dissertation, "Modernity and the Scientific Study of Emotions, 1880-1950," studies the transformation of emotions into biomedical objects of knowledge in late 19th- through mid-20th-century Anglo-American science. He plans to expand his history of the science of passion and explore further associations between emotions, science, technology, and art.
Stefan Jonsson, an independent scholar and writer from Stockholm, Sweden, received his Ph.D. from Duke University with a dissertation "Subject Without Nation: Robert Musil and the History of Modern Identity." He has written numerous works about German literature, cultural theory, and postcolonial literature and culture. He will be revising his dissertation for publication and beginning a project titled "The Passions of the Crowd: Theories of Fascism and Mass Insanity Between the Wars."
Juliet Koss is a Ph.D. candidate in art history in the department of architecture at Massachusetts Institute of Technology. She will be completing her dissertation "Empathy and Estrangement in German and Russian Modernism," a project in the history of aesthetic theory which touches upon architecture, the visual arts, and theater. She is interested in the founding in 1908 of the Munich Artists’ Theater on the basis of empathy theory and the views of Mikhail Bakhtin and Bertolt Brecht on empathy and estrangement. By focusing upon these quintessential emotions of modernism she will construct a history of shifting models of spectatorship in early 20th-century aesthetics.
Yue Meng is a Ph.D. candidate in the department of history at the University of California, Los Angeles. Her dissertation, "The Invention of Shanghai: Passages of Cultural Enterprises from Jiangnan, 1860-1930," reflects her long-term interest in 19th- and early 20th-century urban culture in China--—especially scientific, literary, theatrical, material, and print cultures in Jingnan and Shanghai. She is particularly interested in the theatrical culture of China from 1750 to 1930 and in the rise of Chinese opera theaters.
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The Getty Research Institute is an operating program of the J. Paul Getty Trust. It serves education in the broadest sense by increasing knowledge and understanding about art and its history through advanced research. The Research Institute provides intellectual leadership through its research, exhibition, and publication programs and provides service to a wide range of scholars worldwide through residencies, fellowships, online resources, and a Research Library. The Research Library - housed in the 201,000-square-foot Research Institute building designed by Richard Meier - is one of the largest art and architecture libraries in the world. The general library collections (secondary sources) include almost 900,000 volumes of books, periodicals, and auction catalogues encompassing the history of Western art and related fields in the humanities. The Research Library's special collections include rare books, artists' journals, sketchbooks, architectural drawings and models, photographs, and archival materials.