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MemberAntje Gamble

…Ph.D., 2015, University of Michigan: Doctor of Philosophy in History of Art

M.A., 2008,  School of the Art Institute of Chicago: Master of Arts in Modern Art History, Theory, and Criticism

B.A., 2005, University of Wisconsin-Madison: Bachelor of Arts in Art History with a Certificate in Religious Studies…
…ry Italian Art’,” in Raffaele Bedarida, Silvia Bignami, and Davide Colombo (eds.), Methodologies of Exchange: MoMA’s “Twentieth-Century Italian Art” (1949), monographic issue of Italian Modern Art, 3 (January 2020), https://www.italianmodernart.org/journal/articles/exhibiting-italian-modernism-after-world-war-ii-at-moma-in-twentieth-century-italian-art/.
Book Chapters (Peer Reviewe…

My work examines the exhibition, sale, and critical reception of Italian art and how it shaped and was shaped by national and international socio-political shifts. My scholarship has been included in the recent volume Postwar Italian Art History Today: Untying ‘the Knot’ (Bloomsbury Press, 2018), where my chapter titled “Buying Marino Marini: The American Market for Italian Art after WWII” looks at politicized collection practices during the early Cold War. I also have two essays on on the 1949 exhibition “Twentieth Century Italian Art” at the Museum of Modern Art (MoMA): one in the latest edition of Italian Modern Art , and another for a book due out Oct 2020 (Modern in the Making: MoMA and the Modern Experiment 1929-1949, Eds. Sandra Zalman and Austin Porter. London: Bloomsbury Press.). I also recently published an essay on the 1947-48 ceramic Crocifisso by Lucio Fontana for a 2020 Art Institute of Chicago (AIC) catalogue for the exhibition Material Meanings: Selections from the Constance R. Caplan Collection.

MemberJavier M. Berzal de Dios

I am a professor of art history at Western Washington University, where I teach courses on early modern art history, historiography, and aesthetics. My research studies viewership and reception in early modern culture and contemporary theory through an interdisciplinary lens. My recent writing and professional activities are especially attentive to alternative temporalities, discursive sincerity, and mental health inclusivity.

MemberValerie Connor

Valerie Connor is a freelance visual arts curator and educator. She has served as Chairperson of the National Campaign for the Arts and was Commissioner-Curator for Ireland at the 50th Venice and 26th São Paulo international art biennials. She has served on the board and acquisitions committee of the Irish Museum of Modern Art and was the Visual Arts Adviser to the Arts Council/An Chomhairle Ealaíon. She contributed a contextual essay to the Twentieth Century volume of Art and Architecture of Ireland, published by the Royal Irish Academy and Yale University Press, and co-edited Local Authority, with Dr Daniel Jewesbury, a book of critical essays on European public art commissioning strategies, published by Fingal County Council Arts Office. As part of the photography programme team within the School of Media at the Dublin Institute of Technology, she delivers modules in visual studies, curating photography, photographic practice and dissertation supervision. She is an external examiner for Limerick School of Art and Design at Limerick Institute of Technology and is currently undertaking an MSc in applied postgraduate study in online learning, having previously studied fine art at the National College of Art & Design and women’s studies at Trinity College Dublin. 

MemberJustin Greenlee

I earned my bachelor’s degree from Kenyon College (2009), a masters in Art History from the University of Alabama (2014), and a doctorate from the University of Virginia (2020). My thesis, “Quod vocatur Paradiso: The Pigna and the Atrium of Old St. Peter’s,” focused on the monumental ancient bronze pigna, or pinecone, that was once the unifying water feature of a fountain located in the atrium of the church of Old St. Peter’s in Rome. I studied the pigna‘s eighth-century incorporation into the church and examined how the sculpture’s addition to the forecourt led to the creation of a new architectural term – the paradiso – that reflected Old St. Peter’s emergent status as a center for pilgrimage and papal influence.   Prior to joining the Department of Art History at the University of Virginia as a doctoral student, I was a Eugene McDermott Educational Intern at the Dallas Museum of Art, a Teaching Assistant at the Pantheon Institute in Rome, an International Intern for the Peggy Guggenheim Collection in Venice, Italy, and a grant writer for the Nashville Cultural Arts Project: Seed Space. My ongoing research pertains to topics in late medieval and early modern art in Italy, specifically objects that are created, acted on, and restored many times – works that frustrate a study of the moment of creation and require an analysis that moves across time and geographic borders.   At the University of Virginia, I concentrated on topics involving art and cultural interchange between Italy and Byzantium, particularly as it relates to members of the Byzantine émigré Basil Bessarion’s (b. Trebizond ca. 1403, d. Ravenna 1472) humanist academy in Rome, relics and reliquaries, and the art and architecture of Crusade. I am also a member of the Society of Fellows, the Praxis digital humanities program in the Scholars’ Lab, the Graduate Student Public Humanities Lab at UVA, and served as the coordinator of UVa’s Interdisciplinary Graduate Medieval Colloquium.   Research Interests   Italian art Late medieval and early modern art Rome in the fifteenth century Basil Bessarion (b. Trebizond ca. 1403; d. Ravenna 1472) Art and cultural interchange between Italy and Byzantium Relics and reliquaries Visual cultures of Crusade The Later Crusades The militarization of works of art; works of art as weapons Layered objects and sites Digital and public humanities World art; pedagogy of survey of art history Public art; modern and contemporary art