Number 55 - Fall 2020 Alumni

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Number 55 – Fall hangErNeoclasicosrnE'-RTISTREINVENTiD,1 1-1 THEME""'lLC.IIEllMNICOLUCTIONMoMAAno M. Franco.H 1.1CALLiRESPONSEe-i -:. Published by the Alumni Association ofIINyuITHE INSTITUTEOF FINE ARTS1

ContentsLetter from the DirectorNew Challenges, Renewed Commitments,and the Spirit of Community . . . . . . . . . 3Conversations with Alumni . . . . . . . . 4The Best Way to Get Things Done:An Interview with Suzanne Deal Booth4The IFA as a Launching Pad for SeventyYears of Art-Historical Discovery:An Interview with Jack Wasserman6Zainab Bahrani Elected to the AmericanAcademy of Arts and Sciences . . . . . 8In Memoriam . . . . . . . . . . . . . . . . . . 10Iris Love,Trailblazing Archaeologist10The Year in Pictures:Alumni at the Institute . . . . . . . . . .16Faculty Updates . . . . . . . . . . . . . . .17Alumni Updates . . . . . . . . . . . . . . .22Leatrice Mendelsohn,Expert on Italian RenaissanceArt Theory11Doctors of Philosophy Conferredin 2019-2020 . . . . . . . . . . . . . . . . .34Nadia Tscherny,Expert in British Art11Dora Wiebenson,Innovative, Infuential, andProlifc Architectural HistorianMaster of Arts andMaster of Science Dual-DegreesConferred in 2019-2020 . . . . . . . . .3414Masters Degrees Conferredin 2019-2020 . . . . . . . . . . . . . . . . .34Carolyn C Wilson Newmark,Noted Scholar of Venetian Art15Donors to the Institute, 2019-2020 .36Institute of Fine Arts Alumni AssociationOffcers:Alumni Board Members:Presidentwilliam Amblerwilliam.ambler@gmail.comMartha Dunkelmandunkelmm@canisius.eduMatthew Israelmatthew@artsymail.comGabriella Perezgabriella.perez@hotmail.comDebra Pincusdebra.pincus@gmail.comrebecca rushfeldwittert@juno.comKatherine A. schwabKAschwab@fairfeld.eduJanne sirénjsiren@albrightknox.orgVice PresidentKathryn Calley Galitzkathryn.galitz@metmuseum.orgTreasurerlisa ecretaryJohanna levyjohanna.levy@nyu.eduThe editor extends a specialthank you to her predecessor,Martha Dunkelman, for muchvalued guidance.2Committees:Student-AlumniGabriella Perez, Chairgabriella.perez@hotmail.comMatthew IsraelWalter S. Cook Lecturesusan Galassi, andKatherine A. schwab, Co-ChairKAschwab@fairfeld.eduYvonne eletDerek MooreDebra PincusGertje UtleyNewsletterreva wolf, editorwolfr@newpaltz.eduMiquael williams, student AssistantHistory of the Instituterebecca rushfeld, Chairwittert@juno.comAlumni ReunionAlicia lubowski-Jahn, Chairalicia401@gmail.comwilliam

Letter from the DirectorNew Challenges, Renewed Commitments, and the Spirit of CommunityChristine Poggi, detail of a photo by Louisa RaittDear all,Tis past year will be remembered for themany challenges and crises it brought to ourcommunity, and to the entire world. TeCovid-19 pandemic disrupted our lives innumerous, unforeseen ways; it caused NYU toend in-person teaching and access to libraries,ofces, and research centers in mid-March. Italso led to the postponement of our spring 2020events and programs, as well as the cancellationof our excavations, many summer jobs, andinternships. We all experienced a great sense ofloss and disorientation as we found ourselvesphysically distanced from our friends, peers,colleagues, and family members, unable to makefrm plans for the future, or to travel freely. Manyof these changes to our normal routines led to apervasive sense of anxiety and disappointment,as well as to serious fnancial hardship, especiallyfor our students. Nonetheless our students andfaculty were remarkably resilient and creative,and they found ways to continue their studiesand to care for one another. We celebrated theachievements and hard work of our students in avirtual graduation in May.Shortly thereafter, we witnessed the viciousmurder of George Floyd in Minneapolis, an eventthat sparked outrage against decades of policebrutality against unarmed people of color.Te sustained, multi-racial social protestmovement that ensued has provoked manyimportant conversations, and generated a newsense of urgency in demands for an end topolice brutality and racial injustice. Culturalinstitutions, museums, and universities across ournation and abroad have begun the hard work ofrethinking their missions and focusing on howto make their environments more inclusive andwelcoming to all.At the Institute, despite the current hiringfreeze, we have renewed our commitmentto recruiting a more diverse faculty, staf,and student body, and to raising funds forfellowship support for our MA students fromunderrepresented groups. We are grateful toGraeme Whitelaw for his generous gifts thathave endowed the Harriet Grifn Fellowship.Tis fellowship, named in honor of GraemeWhitelaw’s wife, along with the Institute ofFine Arts Fellowships, have already enabled usto provide full or partial tuition fellowships toMA students. Other transformative gifts madeduring the past year, from Rachel and JonathanWilf for a Conservation Center Fellowship, andfrom the Helen Frankenthaler Foundation forPhD fellowships, provide much appreciatedsupport. We are also immensely grateful for thegifts of two other alumnae; one will fund studentresearch travel to Italy, and the other will supportsummer museum internships.Although no school or institute can coverall art historical or conservation felds, we aspireto a curriculum that engages a multiplicity oftraditions and media across the globe, one thathighlights cultural and geographical exchanges,and new ways of conceiving curatorial work andpublic humanities. To this end, we have joinedthe new NYU Public Humanities Initiative thatwill launch in fall 2020 with support from theMellon Foundation. Te Marica and Jan VilcekCuratorial Program, inaugurated two years ago,allows us to invite several curators each year tolead seminars in their areas of expertise. We aredelighted to welcome Italian drawings scholarand curator Linda Wolk-Simon, who willteach our Introduction to Curatorial Practiceseminar this fall. In the spring, we plan to ofer acuratorial seminar on the art of Goya, co-taughtby Professor Edward J. Sullivan and curator MarkMcDonald of Te Metropolitan Museum ofArt; a seminar on medieval manuscripts taughtby curator and IFA alumnus Roger Wieck ofTe Morgan Library and Museum; a seminaron a selection of women artists who won theAnonymous Was a Woman Award, taughtby scholar and curator Nancy Princenthal inpreparation for an exhibition to be held at NYU’sGrey Art Gallery; and a seminar on curatingcross-cultural exhibitions co-taught by ProfessorHsueh-man Shen and curator and EgyptologistClare Fitzgerald of ISAW.Our programming, all virtual, will continueto address important issues and a wide array offelds and topics in the coming year. Tis pastsummer, we hosted three webinars for the NYUAlumni Association by our faculty: ProfessorFinbarr Barry Flood, “Healing Dust and PrintedCures: Technologies of Protection in MedievalIslam”; Professor Edward J. Sullivan, “Landscapesof Construction and Extinction: Art and Ecologyin the Americas”; and Professor Tomas E. Crow,“French Landscape at the Margins of Survival.”Tese online lectures each attracted over 300attendees and received extremely positive reviews.Along with other webinars and events oferedover the course of the spring and summer,they demonstrated the power of virtual mediato expand our audiences to people across thecountry and around the world. Many of ouralumni have let us know how much they haveenjoyed these and other online lectures, many ofwhich will be posted to our website. Much of ouracademic year programming and the next editionof the (virtual) Great Hall Exhibition is currentlybeing planned by our students, so stay tuned forfuture announcements. We hope you will joinus and stay connected to the Institute via ourmany webinars, lectures, book launches, studentcurated online exhibitions, and other eventsthroughout the year.I also want to take this opportunity tothank all of you who responded to our callfor emergency support for our students. Yourgenerosity, along with that of our Board ofTrustees, faculty, staf, Connoisseurs Circlemembers, and several students, allowed us to givestipends to over 60 MA and PhD students whofaced serious fnancial hardship this past summer.Just recently, we also gave modest sums to ten ofour doctoral students who are currently studyingfor their exams so that they could buy books ata time when many libraries remain closed. TeAlumni Association played a key role in raisingfunds for the Director’s Discretionary Fund (alldevoted to student support), and to helping usreach out to others in our network. Institute ofFine Arts students have expressed their profoundgratitude for the outpouring of concern andfnancial assistance you ofered them. I wouldlike to acknowledge the work of Jenny Eskin,former President of the Institute’s AlumniAssociation Board, and of its ofcers, for theirinspirational leadership during this period.Te challenges of this past spring andsummer, and those that remain as we reopen forhybrid teaching and virtual programming thisfall, have shown us the value of our community.Our students, faculty, staf, and alumni haveremained committed to our collective welfareand safety, to our belief in the importance of oureducational mission, and to the work we must doto ensure that we provide a research and learningenvironment that allows each of us, and all of ustogether, to thrive and contribute meaningfullyto the world we live in. Tank you for sharing inthis mission, for the support you provide, and forthe sense of community you foster.With warm regards to all,Christine PoggiJudy and Michael steinhardt Director3

Conversationswith AlumniThe Best Way to Get Things DoneAn Interview with Suzanne Deal Booth, MA in Art History and Conservation, 1984Alumna Suzanne Deal Booth, a formerIFA Trustee, is a philanthropist, art advisor,collector, and vintner, and generously supportsthe Suzanne Deal Booth Fellowship inconservation at the IFA. She co-founded theFriends of Heritage Preservation in 1998 andserves as the director of the organization—asmall private group dedicated to protectingand preserving cultural and artistic heritage.She currently serves on the boards of theLos Angeles County Museum of Art, TeMenil Collection, the American Friendsof the Centre Pompidou, Ballroom Marfa,Te Contemporary Austin, and the CalderFoundation. In 2003, after she spent a yearliving in Rome with her young family, theSuzanne Deal Booth Rome Prize Fellowshipfor Historic Preservation and Conservation wascreated at the American Academy in Romeand has awarded annual fellowships eversince. Deal Booth’s current endeavors includeestablishing and cultivating Bella Oaks, anorganic vineyard and olive orchard in NapaValley, CA. Former Deal Booth Fellow CelesteMahoney conducted and edited this interview.Everything I did in Europe had to do withculture, and it fed my imagination. So when Icame back, I transferred to Rice University.I told my dad I was going to get a part-timejob. Somehow, through my interests andnetworking, I met Dominique de Menil andshe ofered me a job. I was twenty. It quicklyled from working in the campus museumto a private study in her home, in the RiverOaks area of Houston. My job was to enterinformation on these typewriters that hadmemory—we didn’t have computers—fromher late husband John de Menil’s meticulousnotes into a database.I worked for Dominique for two years afterI graduated. When I started thinking aboutgoing to graduate school, I was intriguedby conservation, by the idea of preservinghistory and works of art. I had gone on twoarchaeological expeditions while at Rice,in Italy and Israel. I really enjoyed puttingthings back together again, and the feelingof accomplishment when you take care ofsomething valuable. When I was consideringmy options, I just thought NYU was the best.You have it all—some of the greatest museumsin the world at your fngertips.Where did you live while you attended theInstitute?When I was accepted at the Institute, I wasstill in touch with Dominique, and she toldme I must absolutely stay with her.You graduated cum laude with a degree inart history from Rice University. What wasit that drew you to the Institute?I had gone to the University of Texas at Austinfor two years, and I had studied sociology. Idecided to go to Europe, and it turned out tobe a much longer trip than intended. I boughta two-month Eurail pass and it turned into ayear abroad. I ended up buying a Volkswagenvan, outftting it, and traveling all throughEurope and Asia Minor, and when I came back,I had decided I wanted to study art history.4Suzanne Deal Booth with Dominique de Menil and Walter Hopps, Houston, c. 1977

What was the conservation program likeat that time? What was it like being in thebasement of the Duke House?I thought it was funky! We didn’t have greatclassrooms to work out of, and the space hadno windows, but the lab had everything that weneeded. My year was a class of eight women,so we could all ft into a small space. CentralPark is right outside the door, and some of myclasses were at the Met. I worked as an ofcehelper for the two then-directors, Norbert Baerand Larry Majewski. Te two years just few by.I also worked at the paintings conservation labat the Met, with [head of the department] JohnBrealey, and loved that experience too.Dominique de Menil’s townhouse in NYCShe wasn’t in New York very much. My roomat Dominique’s house, at 111 E 73rd Street,was in the basement, but it had windows thatlooked out onto a Max Ernst garden. I had atiny little kitchenette, a bathroom, a big desk,and a bed. Tat was it, but I loved it. I livedthere for two years. Because of the proximityto the Institute, I could have a cup of cofeeand walk to school in twenty minutes.It sounds idyllic!It didn’t come without its restrictions. Icouldn’t have guests. She had a pet parrot whoused to throw things at me. But I was livingwith a great art collection, and I liked beingthis sort of shadowy student fgure. She wouldalways include me in dinners she held, and Imet art historians, museum directors, writers,and artists.Suzanne Deal Booth with Mark Rothko’s No. 10,1957, oil on canvas, The Menil Collection, Houston, 1998 Kate Rothko Prizel and Christopher Rothko /Artists Rights Society (ARS), New YorkYou also met James Turrell. How were youintroduced to him?Trough Dominique, I met another formerprotégé of hers, architect Glenn Heim.He invited me to a cocktail party at hisloft on Church Street, where I met HelenWinkler, one of the cofounders of Dia [ArtFoundation] along with Philippa de Meniland Heiner Friedrich. I also met Fred Hughes,who was the business partner of Andy Warhol,and I met James Turrell. I was talking toJames, about his work, a Skyspace [Meeting] atMoMA PS1. While we were talking about thisproject, Helen comes up and says to James,“You should hire her!” And she’s the kind ofwoman where you do what she says.times, and I’m still in touch with him. Tegood news is he’s realizing his dream in hislifetime. In recent years he’s had some hugedonations. Like Kanye West—who knew? Youcouldn’t have predicted that, thirty years ago.It feels like I’ve known him a lifetime.What was the New York art scene like then?What was your role in it?It was happening in New York in the early 80s.All these clubs were beginning. I visited TeFactory a few times. I’d bomb these partieswith my friend and classmate Judy Fox, who’snow an artist in New one party Imet Andy Warhol, and I had him sign myarm. Why didn’t I have him sign a shirt, orsomething I could have saved? He took aPolaroid of me looking a little tired, with hissignature on my arm, and gave it to me.So he said, “Okay!”?Well, he said, “what can you do? Can youhandle heavy equipment?” And I said, “what,like, a tractor?” And he said, “no, can youhandle a drill?” I said I could as long as I hadprotective equipment—my dad is a safetyengineer. So he hired me almost immediately,and I would work on weekends, going outto Queens in my worst clothes. We’d behauling 2x4s up the side of the building,and using drills, and tearing up concrete. Itwas crazy, and I loved it. Every day he wouldtake his team to lunch, and that’s how I gotto know him. He asked me to work on hisbig Whitney show too [James Turrell: Lightand Space, 1980]. James has been someonethat made sure I got a paycheck once, and soI’ve been very instrumental in helping himout with his projects at diferent museums.I’ve been to Roden Crater probably 10 or 12Andy Warhol, Polaroid photograph of Suzanne DealBooth, SDB collection, 2020 The Andy WarholFoundation for the Visual Arts, Inc. / Licensed byArtists Rights Society (ARS), New YorkI met Rauschenberg and visited his studio. Terewere so many artists working with young peoplearound my age, so I connected a lot to the scene,and absolutely loved it. It seemed like a lot ofthe people who were interested in conservationwere also interested in contemporary art, andthat brought in a lot of interesting visitors, eventhough we were in the basement.It sounds like you were very busy!When you’re busy, you’re very efcient atfguring out how to manage your time. I’vealways thought that having lots of interestswas the best way to get things done.5

The IFA as a Launching Pad forSeventy Years of Art-Historical DiscoveryAlumniAn Interview with Jack Wasserman, PhD 1963Jack Wasserman is Emeritus Professor of ArtHistory at Temple University, Philadelphia.In this interview, Dr. Wasserman discusseshis interactions with IFA faculty from thelate 1940s forward with his daughter, SharaWasserman, herself an IFA alumna, receivingher MA in 1985, and currently Director ofExhibitions and on the Art History faculty atTemple University Rome (and the leader ofthe NYU Alumni Club in Italy). Wassermanis the author of Ottaviano Mascarino and HisDrawings in the Accademia di San Luca (Rome,1966), Leonardo da Vinci (Abrams, 1975), andMichelangelo’s Florence Pietà(Princeton University Press,2003), and many articleson Renaissance art andarchitecture. He was electedAccademico Benemerito ofthe Accademia di San Lucain 1997.What brought you to art history?Well, it was all a matter of chance, asimportant moments in life often are. In mylate teens, I was taking voice lessons andattending night classes at Brooklyn College.World War II interrupted my studies and Iwas drafted into the army in 1942. I servedthree years in the Pacifc war zone, whereI contracted hepatitis, was hospitalized,and then was sent home. I had a specialeducational GI Bill grant because of thisdisability. One of the requirements was to takean aptitude test, followed by an interview witha professor at Columbia University. He beganthe interview by asking me what I would liketo do. I replied that I might study history. Hesuggested that I consider art history, since Ihad done well in the liberal arts section of theexam. In 1945, I applied to NYU and was6accepted. My frst courses in art history didnot impress me, because the instructors werenot particularly inspirational.But you remained with art history.Who guided this decision?I took a course with Dan Woods in ancientart and his lectures were brilliant and exciting.He had been a student of Karl Lehmann,and he ofered to introduce me to him at theInstitute. I met with Lehmann, we chattedbriefy, and he said that if I were accepted atthe IFA I should come to see him, so, afterI was accepted and before classes began Imet with Lehmann and he invited me totake a seminar with him on mystery cults inancient Greece. When I expressed my doubtsabout taking a seminar in my frst semester,he responded, take it “sink or swim!” Tefrst session was an intimidating experience.In attendance were advanced and brilliantstudents, including Phyllis Bober and ElsbethDusenbery. Lehmann came in and greetedus, and asked who would do a report on themystery cults at Tebes (and, by the way, theentire literature was in German). Nobodyvolunteered. He turned to me and said, “Jack,you take it.” I gave the report, and at theconclusion he called me into his ofce. “I havesunk,” I thought. To my surprise, instead,he invited me to participate in his annualarcheological excavation on the island ofSamothrace. Tis was 1949.I know that this trip to Samothrace wastransformative. Did you think you wouldhave a career in archaeology?Samothrace was an amazing experience. Wesailed on the Veendam, an old wood-paneledship, and on the way to the island we stoppedin Athens, where Lehmann discussed theacoustics of the Teater of Dionysus on aslope of the Acropolis and invited us to goto the top of the ruins while he stood downbelow reciting passages from Greek drama.At the excavation, he gave each of us theresponsibility for a particular area to supervise.Our hope was that we might fnd the head ofthe Nike of Samothrace. Instead, we foundwhat turned out to be her hand. We alsofound two other Nikes, and in the area Isupervised we uncovered a huge kiln in whichmany marbles from the site had been burned,probably in the seventh century.From Greece, I went to Italy and spent sometime in Rome and Florence. Rome in 1949was wonderful, because there wasn’t muchtrafc and there were almost no tourists, soit was easy to get around. My days in Romewere devoted to exploring architecture and theinteriors of churches. In Florence I stayed atthe Pensione Costantino (which still exists!),near Giotto’s Campanile and the Duomo withBrunelleschi’s dome. I adored what I saw inthese Italian cities, but I was still committed toancient art.Besides Karl Lehmann, who were thenoteworthy infuences during your years atthe IFA?Karl Lehmann was probably the greatestlecturer at the Institute during my time there,and a renowned scholar. He was exciting in theclassroom; he could make it seem as if a plainpiece of marble had come to life. He deliveredhis lectures without pause, his ideas quicklyavailable to him, the words to communicatethem ready at his lips. One day in class I flledin as a substitute for the slide projector operatorand at one point I failed to show the slide hehad requested, so absorbed was I in his lecture.His was the sort of delivery I tried to emulate asa teacher.Lehmann’s archaeological methodology likewisewas a model for my own research. He taughtme that in the absence of documents, thephysical and historical contexts of works ofart could be reconstructed and interpretedwith close observation of details. Tis, and hisarchaeological method of preparing excavationreports guided the preparation of my book onMichelangelo’s Florence Pietà: details and toolmarks are closely observed, the way brokenparts were assembled are revealed with scientifcinstruments, and the height at which the statuewas best to be observed is demonstrated with aCD-ROM produced by IBM.I took a seminar with Walter Friedländer (likeLehmann, a German refugee) on Mannerism.Important experiences with Friedländer were

the one-on-one meetings in his ofce. Wewould discuss quality in works of art and theprinciples of connoisseurship. Just to hear thisgreat art historian talk about sixteenth- andseventeenth-century painting was invigorating.Ten there was Richard Ofner. I took hiscourse on Giotto to Masaccio. We never gotpast Giotto. Ofner sat when delivering hislectures with his hands clasped to his chin andspoke slowly and deliberately. It was almost asif he were seeing the painting for the frst timeand carefully fnding the right words to expresswhat he saw so deeply under the surface. Ofnerdivided each year between teaching in NewYork and doing research in Florence. In time,I modeled my life on this pattern, teaching inPhiladelphia with Rome as my research base.I had the privilege of taking a riveting coursewith Erwin Panofsky (the most famous of thecadre of German refugees then at the IFA)on Flemish art. On a personal note, when Iasked him to write a recommendation on mybehalf for a Fulbright to complete my MA,he agreed to do it, but reluctantly, thinkingit might hinder my chance of being awardedthe scholarship because he was, as he put it, apersona non grata with the FBI. He was ofteninvolved in left-leaning cultural organizations.My application was successful, however.I was lucky to have Richard Krautheimer(another German refugee) as a mentor inarchitectural history, a feld I pursued for manyyears. In fact, my contact with Krautheimerchanged my interests from the antique toffteenth- and sixteenth-century architecture.Krautheimer was also my dissertation advisor.My topic was to analyze the 240 drawings thatOttaviano Mascarino, a late sixteenth-centuryarchitect, had left to the Academy of St. Luke inRome. Upon arriving in Rome in the summerof 1959, on a grant from the IFA, I went tothe Accademia and received permission fromthe director to photograph all the drawings.But he alerted me to the imminent closing ofthe institution for the entire month of August.Te drawings were placed on a table close toa window and I photographed them all in aweek. After completing my dissertation, it waspublished in Rome under the auspices of theAccademia di San Luca.Your long relationship with Italy involvesan important romantic chance meeting.Yes. One day I was sitting at a bar on theCorso, drinking cofee and reading a paper,when a person I knew casually namedDan Scarlett joined me and invited me to aparty hosted by people from the AmericanConsulate. Te apartment was on ViaMargutta. I was sitting on the terrace talkingto several young ladies when an Italian womanin a full billowy skirt came onto the balconyand said, admiringly, “this is quite a dump.”I was hooked. I courted Ambra the next fewdays and soon proposed. She invited me tolunch with the family—her mother was dead,but present were her father and two brothers.Sergio, the older brother, but a year youngerthan Ambra, kept staring at me, perhapsconcerned that I might be taking his sisteraway to America. We were married aboutthree months later, on July 6, 1952.Talk about your research. You havepublished on Mascarino and Michelangelo,you have worked on many diferent topics inRenaissance painting, including Leonardo,you have moved between painting andsculpture, and you have worked betweentime periods.At frst, my career had been oriented towardarchitecture. One day, out of the blue, Ireceived a letter from the editor of Abramsasking me write a book on Leonardo da Vinci.I knew little of his life and art, but I took theopportunity and the book was published in1975. Tis experience led me to specialize onLeonardo. But much later, I began to writeon various other painters, including Raphaeland Pontormo, and on sculpture, includingMichelangelo’s Florence Pietà.Maybe now all these interesting thingsyou have been telling us about have cometogether: your work on architecture, and onpainting—in a church, in a chapel, in situ—led you perhaps to move on to your currentSan Lorenzo project. In other words, wouldyou say that what you are doing now is asynthesis of a lifetime of scholarship?Well, I have recently returned to architecturalhistory. A few years back, I attended aconference at the Villa I Tatti in Florenceon the church of San Lorenzo. In one ofJack and Ambrettathe lectures, a slide of a detail of the churchcaptured my interest and stimulated me topursue it further. I wrote an article aboutit and I sent the manuscript to MarvinTrachtenberg, who liked it. It was publishedin a volume with the lectures delivered atthe Villa I Tatti conference. I am currentlypreparing a second article on the churchof San Lorenzo, for which, again, I haveDr. Trachtenberg to thank. We have beenengaged in frequent email discussions onthe architecture of the church and on thatof the Duomo. I am fortunate to have hadsome seventy years of fruitful intellectualengagement, for which I am grateful to theIFA and its faculty.7

Zainab Bahrani Elected to theAmerican Academy of Arts and SciencesZainab Bahrani at Darbandi Gawr, Iraqi Kurdistan, 2017Distinguished alumna, Zainab Bahrani, whoearned her MA and PhD in a joint programin Ancient Near Eastern and Greek Art andArchaeology, was inducted into the AmericanAcademy of Arts and Sciences in May 2020.She joins more than 250 newly-electedmembers of the Academy, one of the nation’smost prestigious honorary societies. TeAcademy, which dates back to the foundingof the country, recognizes and celebrates theexcellence of its members and serves as anindependent research center convening leadersfrom across disciplines, professions, andperspectives to address signifcant challenges,as noted in its mission statement.8A prolifc writer and researcher, Dr. Bahrani’soutstanding career covers several disciplines.Born and raised in Baghdad, Zainab completedher undergraduate degree in Art Historyand Archaeology at Indiana University atBloomington. She continued her studiesat the Institute of Fine Arts because, as shenoted, it was one of few graduate schoolsthat taught ancient Near Eastern art andarchaeology alongside such felds as ancientGreek, Roman, Aegean and Egyptian art. She iscurrently the Edith Porada Professor of AncientNear Eastern Art and Archaeology in theDepartment of Art History and Archaeologyat Columbia University, teaching a wide arrayof undergraduate and graduate seminars andlecture courses in Near Eastern art history andtheory. Her engaging manner in the classroomearned her the Lenfest Distinguished ColumbiaFaculty Prize for excellence in teaching in2008. She previously taught at the Universityof Vienna and the State University of NewYork at Stony Brook, and she served as curatorin the Department of Ancient Near EasternArt at the Metropolitan Museum of Art from1989 to 1992. Her research has been supportedby awards and fellowships from the AmericanSchools of Oriental Research, the MetropolitanMuseum of Art, and the Getty, Kevorkian,Mellon and Guggenheim Foundations.

Over the decades, Zainab has integratedher various roles as scholar, teacher, curator,archaeo

Alumni Updates. 22 . Doctors of Philosophy Conferred in 2019-2020. 34 . Master of Arts and Master of Science Dual-Degrees Conferred in 2019-2020. 34 . Masters Degrees Conferred in 2019-2020. 34 . Donors to the Institute, 2019-2020. 36 . Institute of Fine Arts Alumni Association . Offcers: President

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