Artistic Practice


Artists mobilize a variety of intellectual, organizational, technological, and physical resources to create their work. This scholar year will delve into the ways in which artists receive, work with, and transmit ideas and images in various cultural traditions.

At the Getty Research Institute, scholars will pay particular attention to the material manifestations of memory and imagination in the form of sketchbooks, notebooks, pattern books, and model books. How do notes, remarks, written and drawn observations reveal the creative process? In times and places where such media were not in use, what practices were developed to give ideas material form?

In the ancient world, artists left traces of their creative process in a variety of media, but many questions remain for scholars in residence at the Getty Villa: What was the role of prototypes such as casts and models; what was their relationship to finished works? How were artists trained and workshops structured? How did techniques and styles travel?

An interdisciplinary investigation among art historians and other specialists in the humanities will lead to a richer understanding of artistic practice.


Getty Scholars


Gianfranco Adornato (Villa) is Assistant Professor of Classical Archaeology in the Department of Humanities at the Scuola Normale Superiore di Pisa, Italy. His research focuses on Western Greek art from archaic to classical periods.
Artistic Training in Ancient Times
(January–June)

Shane Butler (Villa) is Professor of Classics at the University of California, Los Angeles. His research centers on Latin literature from antiquity through the Renaissance, with particular interests in rhetoric, poetics, and the history of the written word.
The Artist as Orpheus
(September–December)

Martine Denoyelle (Villa) is Scientific Advisor for the History of Ancient Art and the History of Archaeology in the Dèpartement des Études et de la Recherche at the Institut National d'Histoire de l'Art, Paris, France. Her research concerns the history and reception of ancient Greek art.
Visual Quotations of Sculpture in Greek-Vase painting; Their Origins and their Function in the Building Up of Meaning
(April–June)

Joseph Imorde is Associate Professor in the Department of History of Art at the University of Siegen, Germany. He is a scholar of Baroque art and art history.
Carlo Dolci: The Production of Authenticity
(January–June)

Thomas Kirchner is Professor in the Department of Art History at the Goethe-Universität Frankfurt am Main, Germany. He is a scholar of French art of the ancien règime.
The Portrait as Program. An Anti-Academic Artistic Concept in Seventeenth-Century France
(September–June)

Michael Lobel is Associate Professor of Art History at Purchase College, State University of New York. His research centers on 20th-century and contemporary art.
Becoming an Artist: John Sloan, the Ashcan School, and Popular Illustration
(September–December)

Steven Nelson (Consortium Scholar) is Associate Professor in the Department of Art History at the University of California, Los Angeles. His research centers on contemporary and historic arts, including architecture and urbanism of Africa and its diasporas, African American art history, and queer studies.
Dakar: The Making of an African Metropolis
(September–June)

Cristiana Pasqualetti is Assistant Professor of Medieval Art History in the Department of Comparative History and Methodology at the Università degli Studi dell'Aquila, Italy. Her research focuses on medieval technical and artistic treatises.
Italian Recipe Books from the Late Middle Ages: The Transmission of Craftsmanship among Manuscript Illuminators
(September–December)

Anna Reuter is an independent scholar based in Madrid, Spain. Her research concentrates on drawings of the 18th century.
Reflections and Ideas Conserved in the Sketchbooks of Goya and his Contemporaries
(September–December)

Jennifer Smyth is Associate Professor in the Department of History and Comparative American Studies at the University of Warwick, Coventry, England. Her research concerns US and European cinema.
The Historical Image in the Contested Frame: Fred Zinnemann's Cinematic Archive
(January–June)

Giorgio Tagliaferro is Lecturer in the Department of Art History and the Conservation of Artistic Heritage at the Università Ca' Foscari, Venice, Italy. He is a scholar of the Italian Renaissance.
Inside Paolo Veronese: Transformation of Ideas into Images
(January–June)


Predoctoral Fellows


Natilee Harren is a doctoral candidate in the Department of Art History at the University of California, Los Angeles.
Objects Without Object: The Artwork in Flux, 1958–1969
(September–June)

Jann Marson is a PhD candidate in the Department of Art at the University of Toronto.
Plagiarism, Play, and Politics in the Collaborative Artistic Practices of Belgian Surrealists
(September–June)

Iris Moon is a doctoral candidate in the Department of Architecture at Massachusetts Institute of Technology, Cambridge, Massachusetts.
Charles Percier and Pierre-François-Lèonard Fontaine's Interior Decoration Practice in Napoleonic France, ca. 1800
(September–June)


Postdoctoral Fellows


Doris Berger is an independent scholar based in Los Angeles, California. Her research focuses on modern art history, the avant-garde, contemporary art, film studies, gender studies, and display techniques.
Hans Richter's Artistic Practice in Painting and Film
(September–June)

Amy Buono is Assistant Professor in the Department of Art History at the Southern Methodist University, Dallas, Texas. She is a scholar of colonial Latin American art.
Techniques of Color and Deception: Brazilian Art in Early Modern Europe
(September–June)

Sabina de Cavi is Ramón y Cajal Researcher at the Universidad de Córdoba, Spain. Her research centers on Renaissance and Baroque art and architecture with a focus on ritual and the materiality of art, specializing in Italy, Spain, Portugal, and the early modern Habsburg empire.
Architectural Drawing as a Collaborative Process: Materials, Tools, Workshop Production and Pattern Transmission in the Sicilian Workshop of Giacomo Amato (1643–1732)
(September–June)

Heidi Gearhart received her doctorate from the Department of History of Art at the University of Michigan, Ann Arbor.
Theophilus' On Diverse Arts: Artists and Art-Making in the High Middle Ages
(September–June)

Ulrike Kern received her doctorate at the Warburg Institute, London, England. Her research concerns early modern Dutch and Flemish art and art theory.
Color and Art in the Netherlands, 1600–1725
(September–June)

Alexander Kitnick received his doctorate from Princeton University, New Jersey. His research centers on postwar British art and architecture.
Eduardo Paolozzi and Others, 1947–1958
(September–June)

Sarah Lepinski (Villa) received her doctorate from the Department of Classical and Near Eastern Archaeology at Bryn Mawr College, Pennsylvania. She specializes in the art and archaeology of the Roman and late antique Mediterranean.
Painting Practices in Roman and Late Antique Corinth, Greece
(September–June)

Emma Libonati (Villa) received her doctorate from Worcester College, Oxford University, England. She is a scholar of Egyptian and Hellenistic statuary.
The Manufacture, Distribution, and Recycling of Statuary in Hellenistic Egypt: Bronze and Stone Statues from Herakleion and East Canopus, Abukir Bay, Egypt
(September–June)

Leora Maltz-Leca is Assistant Professor in the Department of History of Art and Visual Culture at the Rhode Island School of Design, Providence. Her research focuses on contemporary art, specializing in contemporary African art.
William Kentridge: Process as Metaphor and Other Doubtful Practices
(September–June)


Guest Scholars


Roberto Conduru is Adjunct Professor in the Department of Art History and Theory at the Universidade do Estado do Rio de Janeiro, Brazil.
Crossroads: African-Brazilian Art and World Art History
(January–April)

Brian Copenhaver is Distinguished Professor and holds the Udvar-Hazy Chair in the Departments of Philosophy and History at the University of California, Los Angeles. He is a scholar of philosophy and science in late medieval and early modern Europe.
Explaining by Picturing in Early Modern Europe
(September–June)

Bernd Ebert is Advisor to the Director General and Senior Officer of International Relations at the Staatliche Museen zu Berlin, Germany.
Adored and Damned: The Secret of the Pearl in Art
(September–December)

Claudia Mattos is Professor of History of Art in the Department of Visual Arts at the Universidade Estadual de Campinas, Brazil.
Art and Environmental Critique in the Nineteenth Century
(January–March)

Li Qingquan is Dean of the School of Art and the Humanities at the Guangzhou Academy of Fine Arts, China.
Why Was a Tomb Painted in Two Different Styles: On Two Earlier Khitan Tombs Found in Chifeng, Inner Mongolia
(September–December)

Matthew Ritchie is an artist and Mentor Professor in the Department of Visual Arts at Columbia University, New York.
A Time for Everything
(April–June)

Giuxiang Wang is Professor and Director of the Department of Architectural History and Historic Preservation at the School of Architecture, Tsinghua University.
Research on the Chinese Buddhist Architecture since 5th to 15th Century: The Changing Plan of Buddhist Temples
(April–June)

Giles Waterfield is Associate Lecturer at the Courtauld Institute of Art, London.
The Artist's and Photographer's Studio
(January–March)


Roman Palaces Fellow


Francesco Freddolini received his PhD from the Università di Pisa, Italy. He is a scholar of Italian Baroque sculpture.
Collecting and Displaying Sculpture in Medicean Tuscany, c. 1600–1737
(September–June)


Los Angeles Architecture Fellows


Catherine Gudis is Associate Professor and Director of the Public History Program at University of California, Riverside.
Curating the City: The Framing of Los Angeles
(September–January)

Hillary Jenks is Assistant Professor in University Honors Program at Portland State University, Oregon.
Resurrecting the City: Urban Revitalization and Metropolitan Identities, 1950–2010
(March–June)

Linda C. Samuels is a doctoral candidate in the Department of Urban Planning at University of California, Los Angeles.
Creating Autopia: Los Angeles 1940–1988
(September–January)

Martino Stierli is Assistant Professor at the Institute for the History and Theory of Architecture at Eidgenössische Technische Hochschule, Zurich, Switzerland.
Los Angeles, the Infrastructural Sublime, and the Historiography of the City: Towards a Pre-history of an Ecological Approach to Motopia
(March–June)


Museum Guest Scholars


Felicity Allen is an independent scholar based in London, England.
Host department: Education
(September–December)

Katharine Baetjer is Curator in the Department of European Paintings at the Metropolitan Museum of Art, New York.
Host department: Paintings
(January–March)

Rocio Bruquetas is Conservator at the Instituto del Patrimonio Cultural de España.
Host department: Paintings Conservation
(April–June)

Joanna Cannon is Reader in the Department of History of Art at the Courtauld Institute of Art.
Host department: Manuscripts
(January–March)

Ignacio Cano Rivero is Head of the Department of Broadcasting at the Museo de Bellas Artes de Sevilla, Spain.
Host department: Director’s Office
(January–March)

Virginia Costa is a freelance scientist based in Meudon, France.
Host department: Decorative Arts and Sculpture Conservation
(April–June)

Philip Gefter is an independent writer and critic. His most recent book is Photography After Frank (2009).
Host department: Photographs
(September–December)

Hans Rupprecht Goette (Villa) is Professor of Classical Archaeology, University of Giessen, Germany and Editor, Publications Office, at the Deutsches Archäologisches Institut, Berlin.
Host Department: Antiquities
(April–June)

Laure de Margerie is Associate Scholar in the Center for the Interdiscplinary Study of Museums, in the School of Arts and the Humanities at the University of Texas at Dallas.
Host department: Decorative Arts and Sculpture
(September–December)

Michael Roth is Senior Curator in the Department of German Drawings, Prints, and Manuscripts at the Kupferstichkabinett, Staatliche Museen zu Berlin.
Host department: Drawings
(January–March)

Hiltrud Westermann-Angerhausen is Director Emeritus of the Schnütgen Museum in Cologne, Germany.
Host department: Manuscripts
(September–December)



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