Graduate Student Profiles
Benjamin Anderson
B.A., Williams College (Art and English), 1998; M.A., St. John's College, Annapolis (Liberal Arts), 2002; M.A., Bryn Mawr College (History of Art), 2004.
Research interests: Late Roman, early Byzantine, and early Islamic art and architecture; art and political philosophy; the historiography of art.
Conference papers presented at the National Gallery of Art (Middle Atlantic Symposium in the History of Art), St. John's University (Delaware Valley Medieval Association), and Western Michigan University (40th International Congress on Medieval Studies).
Exhibitions curated: “The Invention of Antiquity,” Canaday Library, Bryn Mawr College, Fall 2004; “Iranica: modes of transmission,” with Yael Rice, Carpenter Library, Bryn Mawr College, Fall 2005.
Emily
Bereskin
Jennifer
Bird
I am a PhD candidate specializing in the history of Italian
Renaissance art. I received a BA in art history from McMaster
University and an MA in art history from Queen's University. I wrote
my MA thesis on Francesco Salviati's designs for the decorative arts.
At Bryn Mawr I am working on the history of anatomical study by
sixteenth-century Italian artists. On this project I am able to
combine my interests in the history of medicine, the history of
collecting, feminist theory, and Renaissance historiography.
Jennifer Bopp
I work primarily on photography and film. My interests center around issues
arising from the representation of the compromised (damaged, 'monstrous,' or
deceased) body. I incorporate the theoretical frameworks of psychoanalysis,
post structuralism, semiotics, and phenomenology.
Questions that inform my work include: What is the nature of the
relationship between the viewer/spectator and the image? Does the image
induce in the spectator a sense of embodiment, disembodiment or displaced
embodiment, or an oscillation of differing states? To what extent does a
supposed indexicality inscribed in film and photography play a role in how
the image is perceived, apprehended, or made to signify? How does the body
of the apparatus (the camera) negotiate the transaction between those bodies
imaged and the viewing body? Always underlying these questions are the
possibilities and the limitations of communication in its many forms, as well
as a similar structure of desire and the inaccessibility that drives desire.
It is the interstices that lie within communication, perception, and
apprehension that I seek to keep in play.
I am currently writing a master's thesis that addresses two bodies of
photographic work by American photographer, Jeffrey Silverthorne: Morgue
Work (1972-4) and Letters from the Dead House (1988).
Catherine
Brady
Kathryn Casey
Rebecca
Dubay
Marie Gasper-Hulvat
I am a second-year graduate student for the 2004-2005 year. I received a BA
in Theology and French from Xavier University, Cincinnati, in 2000, after
which I worked at Xavier's Learning Assistance Center as the Assistant
Director for three years. I am particularly interested in Russian art, both
medieval and early 20th century.
Rima
Girnius
Jennifer Griffiths
Second year graduate student of modern art history. She is specializing in
Italian modernism.
Zlatan S. Gruborovic
I am a Ph.D. candidate in the History of
Art Department. I earned a BA degree in Architecture from the Belgrade
University in 1996 and an MA degree in History of Art from Bryn Mawr
College in 2002. The subject of my Ph.D. dissertation Bronzino and
the Style(s) of Mannerism is the history and historiography of Agnolo
Bronzino. I will focus my research particularly on his later works,
the allegorical and religious paintings done after the 1550s. The
research I have conducted so far is twofold. Firstly, I have studied
the general accounts of Bronzino and of Mannerism. Secondly, owing
to the generous summer research grants I was awarded by the Graduate
School of Arts and Sciences and the Centre for Visual Culture at
Bryn Mawr College, I was able to see
some of the paintings considered
crucial for Bronzino's stylistic development, as well as many not
usually so highly praised within his opus. At Bryn Mawr College
I worked with my advisor Professor David Cast, as well as with late
Professor Phyllis Pray Bober, Professor Alice Donohue and Professor
Homay King. I have focused my work on Italian Renaissance and Mannerist
art, although I am also concerned with the critical issues of Modernism
and Postmodernism. I have also been very interested in the notion
of style, its history and historiography. Since 1999 I have given
talks at Temple University, at the Pennsylvania Academy of the Fine
Arts, at the Philadelphia Museum of Art, and at the Middle Atlantic
Symposium at CASVA. My text "Mythologisation of the Trivial and Trivialisation
of the Mythological: Matthew Barney vs. Damien Hirst" is published
in November 2004 in the Remont art magazine in Belgrade.
Rebecca
Hable
Tienfong
Ho
I am in my fourth-year (2007-08) at Bryn Mawr. I completed an M.A. in
Modern Art History, Theory, and Criticism from the Art Institute of
Chicago under British philosopher Michael Newman. My second M.A. thesis,
titled “Recording the Touch: The Meaningful Act in Agnes Martin’s Grid
Paintings,” completed here at Bryn Mawr College was advised by Lisa
Saltzman. I have been the research assistant for film scholar Homay King,
and architectural historian Barbara Miller Lane. I am currently
researching time as the bearer of a world-memory, which enables film
theory and photography to begin answering questions regarding memory and
memorials, where sculpture and architecture have left off.
My published essays include: "The First Killing Fields Memorial:
Mythmaking as Memorial Project," in (Im)permanence: Cultures in/out of
Time, 2007; "Absence of Evidence: Depicting the Truth of War," in Athanor
XXII, 2004; and "Art Historian David Raskin's Soft Socratism," F
Newsmagazine, March 2003.
Idil Ucer Karababa
Lori Kata
I am currently researching my dissertation
on costume in the virgin martyrs painted by Francisco de Zurbarán
(1598-1664) under the direction of Prof. Gridley McKim-Smith. I wrote
my MA thesis on the works of Josefa de Ayala (1630-1684), a Portuguese
artist, in which I focused on consumer culture and religion. A version
of this thesis was presented at a conference in January 2004 and
I will present it again under the title "New Approaches to the Art
of Josefa de Ayala: Social and Material Culture" at CAA in February
2005. My other interests include modern architecture in the U. S.
and the paintings of the Chilean Surrealist, Roberto Matta.
Robin
Kim
Linda Leeuwrik
I am an ABD doctoral candidate, specializing
in European modernism, with a particular focus on German Expressionism
and the Russian Avant-Garde. In my
dissertation, "Blue Riders of the Apocalypse: Kandinsky and Marc in the
German Apocalyptic Tradition," I look at evidence of apocalyptic thinking in
the written and visual work of the artists Wassily Kandinsky and
Franz
Marc. My two MA theses, from Bryn Mawr College and Georgia State University
respectively, are titled, "Striving for the Absolute: An Hegelian
Reading of
Kandinsky" and "Kiefer's 'Konsequenz': Mysticism as a Model of Exegesis."
Nicole
Leighton (on leave)
Adina
Loeb
Mya Mangawang
Michael Jay McClure
Ph.D. Candidate
Dissertation: "Media's Collapse: Andy Warhol, Robert Gober, Matthew
Barney, and the Contemporary Object of Art"
Sara Morasch
Research Interests: Colonial Mexican Architecture
Eleanor
Moseman
My interest in the art and culture of German-speaking
Europe began in 1989 during a year as an exchange student in Switzerland.
I earned a BA in German
Language and Literature with a minor in Art History in 1995 from the
University of North Carolina at Chapel Hill. In my graduate courses at Bryn
Mawr College, I explored issues in German and Austrian art including
projects on Käthe Kollwitz, Gustav Klimt, and court pageantry in 18th-century
Dresden. I wrote my master's thesis (MA 2000) on Christo and Jeanne-Claude's "Wrapped
Reichstag: Project for Berlin", analyzing the aesthetic
transformation of the project design and its impact on the parliamentary
debate and the effect of the drapery installation on a public discourse on
German history. I presented a talk based on my thesis at the Mid-Atlantic
Symposium in the History of Art hosted at the National Gallery, Washington,
D.C. (April 2001). I published an expanded version of this talk
as "Monumental Drapery: The Aesthetic Evolution of the Wrapped Reichstag" in
Focus on German Studies Vol. 9 (Spring 2003). For my dissertation I have
turned my focus to early 20th-century German Expressionism and Czech Cubism.
I am currently writing up the results of my dissertation research, conducted
between autumn 2002 and autumn 2004, which was funded by a Fulbright
Scholarship to Czech Republic in Prague and by a DAAD-Fellowship to Germany
in Berlin, with additional support from Bryn Mawr College. The working title
of my dissertation is "Expressing Cubism: Ernst Ludwig Kirchner's 'Berlin
Style' and its Affinities with the Painting of Bohumil Kubi?ta". As a hobby
I pursue my interest in the archaeology of the Ancient Near East by
excavating in southeastern Turkey at Kenan Tepe on the Upper Tigris, for
which I have analyzed and catalogued the small finds and co-authored several
publications in scholarly journals.
Jeanne-Marie Musto
After receiving a BA from Oberlin College
I worked and trained as a bookbinder and conservator, and curated
exhibitions on the history of the study of books as objects. An MA
in History of the Decorative Arts from the Bard Graduate Center led
to my focusing on medieval, including Byzantine, art and its historiography;
a revision of the MA thesis was published in Gesta. As a PhD candidate
at Bryn Mawr, my focus has further broadened to include19th-century
art and its historiography. My dissertation, which explores the politics
of 19th-century German scholarship on medieval architecture, combines
aspects of all of these interests.
Deirdre O'Halloran
Joanne
Payson
Claire
Pingel
Kim Sajet
Lesley Shekitka
MA student
MFA in Painting, American University
BA in Art History, University of Maryland, College Park
Research interests: modern and contemporary art, feminist and gender theory
Joanne
Stearns
Irina
Stotland
Marissa Vigneault
I am a fourth-year graduate student preparing for my preliminary PhD
examinations in November 2005. I have a BA in Art from Hood College (1999)
and an MA in Art History from American University (2002 - theses:
"Building a New America: William Gropper's Construction of a Dam" and
"Private Desires, Public Secrets: A Reading of Eduoard Manet's
Paintings"). My proposed dissertation, presently titled "The Formation of
Memory, Trauma and Desire in the Art and Writing of Bracha Lichtenberg
Ettinger," will be on the contemporary Israeli-French artist Bracha
Lichtenberg Ettinger and the relation of her writings and art analyzed
through feminist and psychoanalytic theories. My areas of interest include
19th century French painting, early 20th century American art and
Contemporary art.
Helen Vong
MA student
BA in Art History, Reed
College
Research interests: modern art and architecture; Austrian and German modernism
Jennifer
Webb
ABD Doctoral Candidate, expected date of degree May 2006; MA Bryn Mawr
College 2001; Honors BA University of Michigan 1998.
I am currently completing my dissertation, which explores the patronage
of Federico da Montefeltro and his second wife, Battista Sforza, in the
Marche region of central Italy. Over the course of the second half of
the fifteenth century their court, with its capital in Urbino,
experienced a growth in power and prestige that was accompanied by new
building projects and other commissions in the arts. Although the
Italian Renaissance is my primary field of study, my dissertation, as
well as papers I have given at various professional conferences, explore
wider topics like the history of costume in the fifteenth and sixteenth
centuries in Italy and Spain, the question of the place of women in
Renaissance Italy, studies of architecture and urbanism, and public
sponsorship of the arts. My MA thesis emerged from my wider interest in
patronage and, rather than focus on Europe, I turned, instead, to public
sponsorship (PWAP/ WPA) of the arts in Cleveland, Ohio during the 1930s.
Maxim
Weintraub
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