Princeton University Department of Art and Archaeology
Chair: Professor Thomas Leisten Office hours: By appointment McCormick 105 email@example.com
Departmental Representative: Professor Rachael DeLue Office hours: Wednesday, 2:00-4:00pm McCormick 307 firstname.lastname@example.org
Table of Contents
Introduction to the Department of Art and Archaeology I. Declaring the Major I.1. General Information for Prospective Majors I.2. Advanced Placement I.3. Foreign Languages I.4. Courses Taken at Another Institution II. Programs of Study and Requirements for the Major II.1. Program One: History of Art II.1.a. Prerequisites II.1.b. Course Requirements II.1.c. Cognates II.1.d. Junior Seminar II.1.e. Junior Independent Work II.1.f. Senior Independent Work II.1.g. Senior Departmental Examination II.2. Program Two: History of Art and Visual Arts II.2.a. Prerequisites and Admission II.2.b. Course Requirements II.2.c. Cognates II.2.d. Junior Independent Work II.2.e. Senior Independent Work II.2.f. Senior Departmental Examination II.3. Program Three: Archaeology II.3.a. Prerequisites II.3.b. Course Requirements II.3.c. Cognates II.3.d. Junior Independent Work II.3.e. Senior Independent Work II.3.f. Senior Departmental Examination II.4. Certificate in Visual Arts II.4.a. Course Requirements II.4.b. Junior Independent Work II.4.c. Senior Independent Work II.4.d. Senior Certificate Examination II.5. Track in Film and Video II.5.a. Course Requirements III. The Senior Thesis III.1. Selecting an Adviser III.2. Planning Your Time: The Fall Semester III.3. Intersession and the Spring Semester III.4. Thesis Evaluation III.5. Guidelines for Thesis Preparation and Style III.5.a. General Format III.5.b. Order and Format of Thesis Sections III.5.c. Quotations 2
III.6. Thesis Writing Workshop IV. Department Style Sheet for Written Work V. Resources for Research V.1. Marquand Library V.2. Visual Resources Collection V.3. Index of Christian Art V.4. Princeton University Art Museum V.5. Tang Center V.6. Firestone Library V.6.a. Manuscripts Division V.6.b. Graphic Arts Collection V.6.c. Cotsen Children’s Library V.6.d. Western Americana Collection V.6.e. Numismatics Collection V.7. Other Princeton Resources for Art Majors VI. Study Abroad VII. Grants for Support of Thesis Research VIII. Graduation Requirements, Honors, and Prizes VIII.1. Graduation Requirements VIII.2. Honors VIII.3. Prizes IX. Internships and Employment Opportunities IX.1. On-Campus Internships and Employment IX.2. Summer Internships at International Museums IX.3. Off-Campus Internships and Employment IX.4. What Our Graduates Do X. Faculty XI. Undergraduate Calendar, 2011-2012 Appendices: 1. Department of Art and Archaeology Declaration of Major Form 2. Department of Art and Archaeology JP/Senior Thesis Adviser Form, Programs 1 and 3 3. Program 2/Certificate Adviser Approval Form 4. Senior Thesis Research Travel Grant Application Form 5. Senior Thesis First Term Progress Report 6. Summer Overseas Internships Funding Application 7. Department of Art and Archaeology Support Staff 8. The Program in Visual Arts Faculty/Staff Directory (Peter B. Lewis Center) 9. Princeton University Art Museum Staff Directory 10. Princeton University Art Museum 2011-12 Exhibitions Schedule 11. Majors, 2012 12. Majors, 2013 3
Introduction to the Department of Art and Archaeology
The Department of Art and Archaeology is devoted to the study and criticism of the visual arts and the investigation of material artifacts from a wide range of cultures and historical periods. It is also where students interested in the practice of art (taught by faculty in the Program in Visual Arts) can pursue a major. Current faculty members explore subjects as diverse as Roman city planning, Islamic archaeology, Chinese cinema, and contemporary painting, but are united in their belief that the visual arts offer key insights into the past and stimulate ideas and personal growth in the present. In a world that seems to be taking a “visual turn,” understanding the history and workings of visual culture has assumed an increasing importance. Students in the Department of Art and Archaeology learn techniques for analyzing visual materials and locating them within time and place. They also investigate the factors that influence the form and direction of stylistic change (such as religious beliefs, economic constraints, patronage demands, technological change, and so forth). And as studio artists, they engage in the creative transformation of these observations and experiences into works of art. Like any social scientists or humanists, they must evaluate evidence (documentary, textual, or pictorial), form hypotheses, test their data, and draw conclusions. Successful majors master the translation of visual perceptions into linguistic or material expression, develop their visual memory, and make connections with a wide array of other historical evidence. Majors in the Department of Art and Archaeology are prepared to pursue numerous careers and graduate programs. Our majors have gone on to graduate programs in art history, fine arts, art education, museum studies, architecture, archaeology, comparative literature, area studies (Classics, Asian Studies, African-American Studies, Women’s Studies, European Studies, etc.), languages, and history. In addition, majors regularly enter medical, law, public policy, and business schools. The skills developed in the Department also can form the bases for future careers in teaching, journalism, communication and media, museum work, not-for-profit organizations, architecture, design, advertising, and marketing.
I. Declaring the Major
I.1. General Information for Prospective Majors
Students interested in majoring in the Department of Art and Archaeology must choose one of three programs: Program One – History of Art (a traditional concentration in art history that demands broad exposure to the visual arts produced in different time periods and cultures) Program Two – History of Art and Visual Arts (a concentration combining art history with studio art that culminates in a senior thesis exhibition) Program Three – Archaeology (an interdisciplinary major combining academic training in archaeology with practical experience on excavations) 4
a detailed description of the course.2. students are encouraged to explore a range of media (e.4. Cognates: No more than two cognate courses taken in other departments (including the Program in Visual Arts) may be counted toward the ten departmentals. film. sculpture. Advanced Placement
One unit of advanced placement credit is granted for a score of 5 on the Art History Advanced Placement Examination. Renaissance/Baroque/late Islamic. and modern/contemporary (19th century to the present).g.3. Students participating in the Study Abroad Program may be allowed to count more than 5
. In choosing courses to satisfy the distribution requirement.
I. Art 101.1.1. programs require at least two languages (in many cases German in addition to the language of the student’s intended area of study). medieval/early Islamic. photography. II.. and Art 102 count as departmentals but not as distribution courses.D. African/PreColumbian. Program One: History of Art
II.1. programs require facility in one language.Each program has its own specific course requirements for admission (see below). preferably with a syllabus. Students must also take at least one course in five of the following six distribution areas: East Asian. II. and most Ph. Students must also submit the Department of Art and Archaeology Declaration of Major Form (Appendix 1) in the spring of the sophomore year.b. Foreign Languages
Although there are no formal requirements for foreign language proficiency beyond the University requirements. Art 100. painting.
II. students may take up to two departmental courses at other institutions and obtain Princeton credit with prior approval from the Dean of the College and the departmental representative. Courses Taken at Another Institution
While enrolled at Princeton. Prerequisites: Any two courses in the Department of Art and Archaeology.a. all majors are encouraged to achieve reading facility in one or more languages determined by the areas that interest them.
I.A. a list of the number of class hours (and lab hours) per week. Programs of Study and Requirements for the Major
II. In order to apply for course credit. Course Requirements: A total of ten courses in the Department of Art and Archaeology. and an official schedule showing the first and last days of the course session. ancient Mediterranean. Students intending to pursue graduate studies in the history of art or archaeology should know that most M. a student must submit to the departmental representative the university form (Approval for a Course Taken at Another Institution). including Art 400 (Junior Seminar) and two seminars at the 400.1.or 500-level. Thematic courses as well as courses spanning more than one area will be allocated to a distribution area on a case by case basis. architecture. printmaking). This includes summer courses.
II. by the first weekend following spring break. sculpture. and methods of making visual art in connection with a general program of humanistic education. The grade on the senior departmental exam is the average of the grades given independently by the three faculty examiners. normally its second reader. and film history and theory. The student selects a faculty adviser in the spring of the junior year. Courses cross-listed with the Department of Art and Archaeology automatically count as departmentals. Prerequisites and Admission: By the end of the sophomore year. Senior Independent Work: The senior independent work consists of a year-long research project of approximately 60-80 pages on a topic selected by the student.
II. II. and return it to the departmental representative for approval.1. See the Guidelines for the Senior Thesis (Chap III. Program Two: History of Art and Visual Arts
Concentrators in this program explore the traditions. photography.
II. For the spring independent work. Students who are abroad during the fall of the junior year can complete the Junior Seminar during the fall semester of the senior year. 2011. sophomores submit an application and a portfolio of creative work to the Lewis Center for the Arts administrative office. All cognate courses must be approved prior to enrollment by the departmental representative. and prepares them for writing the junior and senior independent work. film and video production.two courses taken overseas as departmentals. The thesis grade is the average of the grades given by the adviser and a second faculty reader.1. The admissions committee for the Program in Visual Arts will notify students accepted into the program by early April.g. all majors must take the Junior Seminar (Art
400). and one additional faculty member). students write a second research paper (approximately 25 pages) with a departmental adviser of their choice. drawing. Senior Departmental Examination: The senior departmental examination consists of a one-hour oral examination covering material from departmental courses and attended by three faculty members (including the adviser of the senior thesis. 6
.2.1.2. II. The student and adviser must sign the JP/Senior Thesis Adviser Form (Appendix 2) and return it to the departmental representative for approval.a. In addition. below) for details on the presentation and writing of the thesis. II.f. Junior Independent Work: The fall junior independent work consists of a paper of approximately 20 pages addressing the state of the literature on a particular subject selected by the student.e. Junior Seminar: During the fall of the junior year. students intending to major in Program Two should have completed two courses in the Department of Art and Archaeology and two studio courses in the Program in Visual Arts. thought processes. This paper is usually advised and graded by the instructor of the student’s Junior Seminar. No AP credit is accepted toward the Program Two major. based on the submission of a syllabus and course description. students must complete the JP/Senior Thesis Adviser Form (Appendix 2) by December 2.d. printmaking. Courses are offered in painting. The course introduces students to the various methodologies used by art historians and archaeologists.1. During the spring term.
or 400-level. a contemporary artist. It can be made of any materials. II. which is done in consultation with the student’s advisers and also with the general visual arts faculty in "open studios.” Students present their work in an exhibition in the latter half of the spring term. Senior Departmental Examination: The senior departmental examination takes the form of a one-hour critical discussion of the senior independent work with the student’s three advisers in the latter half of the spring term. The Art and Archaeology courses must include a course in the modern/contemporary distribution area (nineteenth century to the present).” one whom is assigned by the Program director and one of whom is chosen by the student in the second week of fall term. Senior Independent Work: By the end of the second week of fall term of senior year. daily life. This book is usually advised and graded by the instructor of the student's junior seminar (VIS 392). students must select three advisers. Cognates: Up to two courses in studio art or art history may be taken at other institutions during the summers with prior approval by the departmental representative (for art history courses) or the director of the Program in Visual Arts (for studio art courses).f. or images only. Courses taken as part of the Study Abroad Program may be allowed to count as departmentals with prior approval from the departmental representative. The advisers’ spring-term grade for junior independent work represents an evaluation of the entire year’s studio work.c.e. The discussion is open to all Visual Arts Program faculty and Certificate/Program 2 students. The spring junior independent work is done in consultation with the student’s advisers. text and images.2. usually a two-person show with another Certificate or Program 2 student.
. and complete the Program2/Certificate Adviser Approval Form (Appendix 3). Students also interact with the general visual arts faculty in "open studios. and courses in two other distribution areas (see Program 1). and VIS 416 (Senior Thesis Seminar). The grade for the senior independent work represents an evaluation of the entire year’s studio work and is the average of two grades: (1) the average of the grades given by the student’s three advisers.b. The senior independent work is a major studio project completed by the end of the spring term. taken in the fall term of the senior year. but must be bound in book form. The grade for the oral examination is the average of the three grades given by the advisers participating in the examination. including one from the Department of Art and Archaeology faculty.d. The creative junior independent work is exhibited in a group show at the end of the junior spring semester.2. normally at the time of the student’s exhibition. or any other germane topic approved by the VIS 392 instructor.II.2. Course Requirements: A total of twelve courses. The book may be text only. in any format. of which at least six should be from the Program in Visual arts and at least four from the Department of Art and Archaeology.2. II. an art historical influence. Junior Independent Work: The fall junior independent work consists of an artist’s book of at least 24 pages addressing the student’s work. II. II. at least two studio courses at the 300. The Visual Arts courses must include: at least two different media. Visual Arts 392 (normally taken in fall of the junior year). and (2) the average of the grades given by the rest of the Program in Visual Arts faculty who view the senior exhibition.2.
languages (up to two language courses beyond the 100-level may count toward the major).4.4. These must include Art 400 (Junior Seminar). Sophomores interested in a certificate in visual arts should submit a portfolio to the Lewis Center for the Arts administrative office by the first weekend following spring break. II. Other possibilities include certain courses in religion. Senior Independent Work: Same as for Program One.3.e. II. and materials science/conservation.a. One course in the Department of Art and Archaeology is also recommended. art. (2) Vis Arts 392 8
. II. II. Islamic.3. anthropology. The admissions committee will notify students accepted into the program by early April. Egypt/Ancient Near East. except that the spring junior paper should be on archaeological topic. Course Requirements: A total of ten courses in the Department of Art and Archaeology or approved cognates. Assistant Professor. Mediterranean/Ancient European. for example. chemistry. Certificate in Visual Arts
A certificate of proficiency in the visual arts is awarded to students who successfully complete a substantial program of studio work while majoring in another academic department. and Nathan Arrington.d. Junior Independent Work: Same as for Program One. must include two courses in the history. A student with a special interest in classical antiquity. geology.c. and four more Art and Archaeology courses approved by the program adviser in four of the five areas: the Americas (Pre-Columbian). might take courses in the Classics department. Course Requirements: A total of eight courses from the Program in Visual Arts and Department of Art and Archaeology.II. including studio courses in at least two media and at least two 300. and/or literature of a single culture. II. which need not be in the Art and Archaeology department.3.f. Prerequisites: Any two Department of Art and Archaeology courses in the Ancient area or other courses related to archaeology as approved by the program advisers.3.3.a. Each student will design an individual course of study with the advice of the program advisers for 2011-12: Thomas Leisten. including: (1) four visual arts courses.b. Students will specialize in an area of particular interest. Program Three: Archaeology
This program brings together faculty from a variety of departments in a major that combines academic training in archaeology with practical experience on excavations (participating in a summer excavation project is normally required). and Central Asia/East Asian. Normally students must complete two of the required visual arts courses before being admitted to the program. Professor and Chair.or 400-level studio courses. Senior Departmental Examination: Same as for Program One.3. II. II. Art 401 (Introduction to Archaeology). except that the thesis must be on an archaeological topic. The remaining four courses.
II.3. but will also engage in comparative study of different cultures. Cognates: No cognates are accepted for the four courses taken in the Department of Art and Archaeology.
in any format. c) At least two other courses (either in film production or academic courses in film history). II.
II. usually in a two-person show with another certificate or Program 2 student. VIS 361/362. VIS 462).a. the student selects two advisers from the Program in Visual Arts and completes the Certificate Adviser Approval Form (Appendix 3). normally at the time of the student’s exhibition. a contemporary artist. an art historical influence.4. The discussion is open to all Visual Arts Program faculty and Certificate/Program 2 students. 5. II.” one whom is assigned by the Program director and one of whom is chosen by the student in the second week of fall term. The book may be text only.” Students present their work in an exhibition in the latter half of the spring term. II. daily life. or images only. one of which must be in the modern distribution area. Independent work requirements for the track in film and video are consistent with those set forth for the 9
. Normally students in this track must complete a production course and a course in film history or theory before being admitted to the program. students must have the approval of their department of concentration to submit a written critical/historical thesis on a film-related topic or present a creative film work in fulfillment of the senior thesis. Junior Independent Work: The fall junior independent work consists of an artist’s book of at least 24 pages addressing the student’s work.b. text and images. To enter this track.4. II. or any other germane topic approved by the VIS 392 instructor.or a cognate (see Program 2 description). (3) Vis Arts 416. The junior independent work is exhibited in a group show at the end of the spring semester. Course Requirements: Five visual arts courses. (4) two Art and Archaeology courses. b) Two courses in film history (any course listed by the Film Studies Committee) and one visual arts seminar in film theory or history. The grade for the senior independent work represents an evaluation of the entire year’s studio work and is the average of two grades: (1) the average of the grades given by the student’s two advisers and (2) the average of the grades given by the rest of the visual arts faculty who view the senior exhibition. It can be made of any materials. The spring junior independent work is done in consultation with the student’s advisers. This book is usually advised and graded by the instructor of the student's junior seminar (VIS 392).5.c.d. Senior Certificate Examination: The senior certificate examination takes the form of a one-hour critical discussion of the senior independent work with the student’s two advisers in the latter half of the spring term. Track in Film and Video
Students interested in film and video production or criticism and analysis may pursue the film and video track within the visual arts certificate program while concentrating in another academic department. including a) One course in film/video production (VIS 261/262. Senior Independent Work: By the end of the second week of fall term of senior year. Students also interact with the general visual arts faculty in "open studios.4. but must be bound in book form. Please note: Three cognates are accepted within the above group. The creative thesis studio work is done through required participation in Vis Arts 416 and in consultation with the student’s advisers and also with the general visual arts faculty in "open studios. Requirements for this track are summarized below. The advisers’ spring-term grade for the junior independent work represents an evaluation of the entire year’s studio work.
The most difficult task in writing a senior thesis is the selection of an appropriate topic. 2011. You might begin by thinking of your thesis as a question. but should try to pursue ideas. The Senior Thesis
The senior thesis represents the most sophisticated original research and writing that you will undertake as an undergraduate at Princeton. If you have no ideas for a topic. When the independent work is not completed in conjunction with requirements for the student’s home department. or questions that piqued your interest in earlier courses. and so forth. making policy evaluations. but part-time faculty (teaching only one course) do not. then you should schedule a meeting in the spring of the junior year with a faculty member and begin to brainstorm. or objects). In general. curators within the Princeton University Art Museum may serve as advisers if they so choose (they are not required to advise students). Junior projects and senior theses may be submitted as historical or theoretical essays or as creative works in film.1. If you have not submitted this form or if you are changing your adviser. Full-time visiting faculty in the Department of Art and Archaeology may serve as senior theses advisers. Department of Art and Archaeology faculty normally do not direct more than three senior theses. You need to work with your adviser to narrow down your topic to a problem that you can assess in 60-80 pages and that you can research using the facilities available (whether libraries. and the relationship that you establish with your thesis adviser will be important for your admission to graduate and professional school and job placement. you must notify the departmental representative by September 24. you should remember that it is always possible to have new insights because each generation brings different perceptions and knowledge to past art. Selecting an Adviser
Senior thesis advisers are selected in the spring of the junior year (the JP/Senior Thesis Form is normally due in early May). Normally faculty members in the Program in Visual Arts do not serve as advisers for Program One and Program Three theses. objects. so you may need to consult more than one faculty member in order to find a supervisor. In addition to fulltime faculty.
III. When these projects can fulfill the requirements of the visual arts certificate and the student’s department of concentration. In many cases. 10
.visual arts certificate program.
III. video. Even if you do not pursue a career in art history or archaeology. the work will be supervised by two faculty members from the Program in Visual Arts. or an installation based on either or both media. archives. they will be jointly advised by faculty members from the program and the student’s home department. you may find that doing preliminary reading or visiting a museum may spark ideas. Even though hundreds of pages may have already been written on your topic. evaluating data. you should not pick a topic in an area in which you have not had any coursework. In many cases. ranging from the specific (why did medieval illuminators fill their borders with fantastic animals?) to the general (how does a society’s perception of time influence the kind of art that it makes?). museums. the area and topic that you select will define the direction of your future professional career. The faculty member can help you probe what your real interests are or suggest approaches. the skills that you develop in producing a thesis will be useful in writing reports.
you must submit to your adviser a detailed outline of your chapters (normally 2-3 pages) and an annotated bibliography (approximately five pages total). you may need to do travel to collections and libraries during the winter recess or intersession. In addition. then you need to complete a draft even earlier so that you can substantially rewrite. you should have submitted at least one chapter to your adviser. 2012). In short. You should also schedule regular appointments with your adviser (the frequency varies. and all materials (including illustrations) must be complete. 2012. but ideally every two weeks you need to review your progress with your adviser). The month of March should be spent editing and completing the footnotes. By December 2. This means that you have about two months to identify the relevant literature on your topic and digest it. you should have largely completed your main text. You will need to do bibliographical searches for articles and in some cases request interlibrary loans or visit museum collections.m. and by the end of February. Intersession and the Spring Semester
Concentrated writing of the thesis should continue during intersession and into February.4. and write your first chapter (or more. Planning Your Time: The Fall Semester
During the fall semester. Advisers will complete a fall semester Senior Thesis Progress Report that will be sent to the departmental representative by Dean’s Date (January 17. who will assign you an adviser. Thesis Evaluation
Your thesis is read and graded by your adviser and a second reader assigned by the department (the list of second readers is not made public until after the thesis due date). 2011. If you know that you have difficulties with writing and organizing. By the beginning of the spring semester (February 6. which will be used to evaluate your first-semester work. produce a chapter outline. It is not always possible or necessary to have an adviser whose area of expertise coincides with your proposed thesis topic. and in most cases should be between 60-80 pages. and illustrations for your thesis. All theses will benefit from going through more than one draft.
III. 2012). you must complete most of the research for your thesis.
III.If you are having trouble finding an adviser. you should count on spending about ten hours per week just on your thesis (probably more time than you would spend on a normal course). The penalty for late submissions is one point subtracted from the final numerical grade for each day or part of a day that the thesis is overdue (including the weekends). The final thesis grade is the average of the two readers’ grades (except when their grades are more than ten 11
. on April 4. gather the illustrations. bibliography. if possible). What is important is that you find an adviser who seems interested in you and your topic. Remember that your adviser needs at least a week (and in some cases two weeks) to read and comment on any text you submit. No extensions will be granted.
III. Please note that your thesis must not be longer than 100 pages (not counting the notes and bibliography). Two unbound copies of the thesis in a temporary binder are due in the departmental office by 5 p.2. Please see the section below on Senior Thesis Format for details on the required style and mode of presentation.3. please notify the departmental representative.
New Jersey Date Pledge: On a separate page after the title page you should pledge that: “This thesis represents my own work in accordance with University regulations” and sign your name. acknowledgments.) for all front matter (including the pledge. a paragraph should read: “I authorize Princeton University to reproduce this thesis by photocopying or by other means. top and bottom and 1 ½” on the left should be adequate). 12
. etc. at the request of other institutions or individuals for the purposes of scholarly research” and then sign your name.
III. You also receive written reports from your two readers. III. approximately 3 inches below the title] [at bottom of page] A Senior Thesis Submitted to the Department of Art and Archaeology.5. The text must be double-spaced with paragraphs clearly indented and with reasonable margins (1” on the right. in which case the department assigns a third reader and the final grade is the average of the three grades). Below that. list of illustrations). 8 ½ x 11” white paper. and the numbers should run through the bibliography but not into the illustration pages. Do not break words at the end of lines or justify the right-hand margin. Mudd Manuscript Library for microfilming and returns the other copy to you. The preferred location for numbering is the lower right corner of the page. Use only one side of the paper and select a 12-point font (Times New Roman and Courier are the most common). iii. The first page of your actual text (normally titled “Introduction”) should start with “1”.a. Page numbers should start with the title page (no number is printed on the title page) and should be in italics (ii.5. footnotes can be either single or double-spaced (consult with your adviser). in total or in part. The two readers’ reports and the final thesis grade are given to the student at the senior oral exam. Guidelines for Thesis Preparation and Style
III. Princeton University. General Format: Your thesis must be printed in black ink on plain.5. Inset quotations must be single-spaced. iv. The department forwards the unbound copy of the thesis to the Princeton University Archives in Seeley G. table of contents.b. in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts Princeton. and some readers may give you informal comments that respond in more detail to stylistic and conceptual strengths and weaknesses within your text. Order and Format of Thesis Sections Title page: Thesis Title [centered.points apart. approximately 3 inches from page top]
Author’s Name [centered.
coherent whole). medium (“oil on canvas”. If the website does not have all the appropriate ID information for the image (particularly the current owner of the image). prints. A Pocket Style Manual or Sylvan Barnet’s A Short Guide to Writing about Art. To be consistent. Acknowledgements or preface (optional): You may thank any individuals or institutions for their assistance or permissions to consult archives and works of art. date (to the extent known. The important thing is to be consistent for all your illustrations. For the style of footnotes or endnotes. or datasets in their entirety. Whatever style you use. letters. title (in italics and in English translation unless the work is best known under a foreign title). for approximate dates). the author or sponsor of the information (if there is no specific author). use ca. if known). Most professional manuscripts and books in art history now use endnotes. list the agency or museum that sold you the image. If you downloaded the image from the web. but the date that you consulted it. Please note that different disciplines and nationalities use different note styles. Endnotes should be clearly divided by chapters and should recommence with each chapter (rather than running through the entirety of the thesis). see the Department of Art and Archaeology Style Sheet or the section on the Chicago Manual style in Diana Hacker. and other objects that are fragments or parts of a larger. title. Appendices (optional): If you are publishing archival materials. 13
. choppy sections. and plate or page number from the book (use the format for bibliographical references). codices. or manuscript ID in which a particular image originally appeared (for illustrated books. book. Pay particular attention to information obtained from the Web: you must record not only the URL of the site.” If you Xeroxed or scanned the image from a published book or magazine. Then in parentheses put the source for the reproduction: “(Photo: Source from which you obtained the image). place of publication. and the title of the posting. instead of c. “granite”. size (optional. and their beginning page numbers. portfolio. but not “sculpture”. “etching”. then they appear as appendices. endnotes. you may choose to have subdivisions with separate titles. bibliography. Your adviser may also ask you to use a different style. designer. collection. then you must list the author. date.Table of Contents: List chapter titles and sections. you can consult any general textbook or university press publication for models.” Within each chapter. we would recommend using the Chicago Manual style or the variation of it used by the Art Bulletin. you must be consistent in formatting and punctuation throughout the document. many books no longer list the sizes of objects). “painting”). you should list the web address using the bibliographical style for websites (see the section of this document on Bibliography). then put: (Photo: The Author). collection where the work is currently located. If you have questions about the captions for illustrations (which vary enormously in style). then you need to consult collection catalogues and books. but you should avoid having short. architect. You should also have a separate chapter that functions as a conclusion (and it normally needs to be more than 2-3 pages). the journal of the College Art Association (detailed in Barnet). If you shot the picture yourself from the original object. List of Illustrations: The listing for each illustration should contain the following information: first and last name of creator (artist. If you purchased the photograph. Main text divided into chapters: You should begin with an introductory chapter that may have a separate title or merely be called “Introduction. photographs. Your table of contents should resemble those of published books in format. Endnotes or Footnotes: You and your adviser should decide if you will use endnotes or footnotes. publisher.
take it out of the body of the text.5. you must insert an ellipses. Workshops will consider common issues such as budgeting time for writing.” A quotation must adhere in all ways to the original text. . and so forth. but you must print (or type) their figure numbers. then you need to indicate in your footnote that you got the citation as cited in the secondary source (if there is an error in the translation from the original to the secondary source.Bibliography: List all sources quoted and consulted in alphabetical order by last name of author. 1980). You may use black and white or color reproductions for the illustrations. If you are borrowing a quotation from another secondary source that quoted it from an “original” manuscript or another book. and work them as much as possible into the flow of your own narrative. 4:348. do not submit original photographs or drawings. cutting off the end of the phrase. If you are scanning the illustrations. Hacker. then it is not presumably your fault). If a long quotation (five or more lines) must be used. keep them brief. [you must] include them within brackets. For the format for your bibliography. follow the punctuation and paragraph structure of the original text. The Solomon Guggenheim Museum (New York: Museum of Modern Art. Quotations: Use quotations sparingly. Your note would read: Frank Lloyd Wright. Do not feel that you do not need to attend the thesis workshops if you are not having difficulties: all students benefit from the advice and group discussions generated in the sessions. see the Department of Art and Archaeology Style Sheet. if you need to insert your own words to clarify a quotation or make it grammatically correct. organizing your notes. For example. If you select a part of a quotation (starting in the middle of a sentence.c. ) at the point of each deletion. 1976).6. the author of this handbook said that “if you need to insert your own words … . Illustrations: You do not need to repeat the credit information on the actual Xeroxes or scans of illustrations. limiting your topic. If there is a spelling or grammatical error in a quotation that you recognize. indent. you can paste and copy the information from the list of illustrations. plagiarism. and writing processes. include them within brackets. Jordy. or Barnet. .
III. then you add the Latin word sic in brackets [sic] to indicate that the error was in the original. Within the quotation. Thesis Writing Workshop
The Department and Dean’s Office sponsor a senior thesis writing workshop taught by an advanced graduate student in the Department. outlining. If possible. or deleting words in the middle). III. and single-space. or three spaced periods ( . quoted in William H. writer’s block. New York: Anchor. American Buildings and Their Architects (Garden City. The workshop leader arranges regular meeting times so that you can review various aspects of the research. preparing the final manuscript. it is always advisable to consult the original source for a quotation in order to get a better sense of its context. Also. 20. More information about this workshop will be handed out in late September. locating sources and images.
You should include a title page with your name. begun 1256. Lincoln. Department Style Sheet for Written Work
All papers submitted to the Department of Art and Archaeology should be printed in black ink on one side of the paper. separated by semicolons. 1990). Illustrations should be properly identified either in captions or in a separate list of illustrations. or summarized. Margins should be approximate 1” on the top. As a general rule. Lincoln Cathedral. The Gothic Cathedral (London: Thames and Hudson. fig. Occasional handwritten corrections are preferable to misspellings. Identify the work and specify the source from which your illustration is taken (in the same way that you would specify the source of a quotation in a footnote). If a single sentence or paragraph contains material from a number of sources. If you refer to illustrations in your paper. When in doubt. Accademia Gallery. put your footnote at the end of the paragraph. 135]. 448. you should insert in parentheses a figure reference (Figure 1) normally following the naming of the object that you want the reader to consult. You should select a conventional typeface (Times New Roman or Courier) and use 12-point type. consult the captions or list of illustrations in your textbook or similar academic books. Figure 2. If you come back to an earlier figure later in your paper or jump ahead to a figure that you haven’t cited yet. If all the material in a paragraph is derived from a single source. the course number and name. [Photo: Christopher Wilson. whether quoted. Footnotes should be numbered consecutively 15
. Caravaggio's Conversion of St. marble.
Footnotes and Bibliography
Use footnotes to identify the sources you have drawn upon for the ideas and information in your paper. you need to confirm that the numbers of your textual figure references correspond with the numbers actually given to the reproductions. Florence. Lindisfarne Gospels. Whatever you do. 11]. Great Britain. The Visual Arts: A History. For example: Figure 1. you may need to cue your reader by saying (see Figure 4). and both sides of the paper. Normally it is advisable to number the figures in the order that they first appear in your text. David. Angel Choir looking northeast. the title and date of the paper. Book of Kells. (Englewood Cliffs: Prentice-Hall. Paul.IV. the titles of works of art. like the titles of books. and the honor pledge (handwritten and signed). fig. Michelangelo. However. The footnote number should come at the end of the sentence for which a citation is needed. but it is even better to correct your paper on the computer and reprint it. 4th ed. the names of buildings. This means not only the sources of quotations but also the sources of all opinions or interpretations that are not your own. 184. Staple or bind the pages firmly together. [Photo: Hugh Honour and John Fleming. 1995). and be sure to proofread your paper before handing it in. are italicized: Michelangelo's David. manuscripts. 1501-3. bottom. paraphrased. they may all be cited in the same footnote. Lincoln Cathedral. and a few other types of object are left in Roman letters: Sistine Chapel.
A Short Guide to Writing about Art). If you refer to the same source more than once.throughout the paper (longer papers divided in chapters normally have note numbers beginning with each chapter). The goal of the bibliography is to allow the reader quickly to find materials for further consultation rather than to confirm the accuracy of a single reference or quote. titles of articles should be placed in quotation marks. but be consistent.
Single-authored book: 1. but is punctuated differently and organized alphabetically by the author’s last name (or. or loc. The bibliographical reference contains essentially the same information as the footnote. if there is no author. (The first line of notes is indented five spaces in the Chicago Manual Style. and the page numbers you are referring to. For articles. You do not need to repeat the author’s name with each entry. A Pocket Style Manual or Sylvan Barnet.cit are also no longer used. 10-25. the first word of the title is used – not ‘the” or “a”). This information will normally include the author's name.
. For books. you must return to the original book or article and obtain the information. If you are citing more than one work by the same author. see Diana Hacker. Different disciplines have different norms for footnote and bibliographical styles. The Chicago Manual style no longer uses ibid. bibliographical references do not indicate the specific pages consulted but the entirety of the text or document. If you are using more than one text by a single author. If you do not have complete information for your footnotes/bibliography. to refer to the work cited in the preceding note. you must adhere to the punctuation as shown in various style manuals and be consistent throughout your notes and bibliography. You can normally use your computer’s default setting for endnotes. 2005). the journal of the College Art Association and the style recommended in Sylvan Barnet’s A Short Guide to Writing about Art (recommended by some faculty in the Department). Craig Burnett. The following examples show how different types of sources should be treated in footnotes and bibliographies (for a complete listing of formats. Titles of books and journals should be italicized. The Latin abbreviations op. date and place of publication. citations after the first should be abbreviated to the author’s last name. I am using a tab here that is not five spaces). followed by the page reference. the publisher. you should alphabetize them by title. then you will have to give the author’s name and title in subsequent references. the name of the journal and the volume number should be given. the title of the book or article. the Art Bulletin places notes flush left. Jeff Wall (London: Tate Publishing. Another similar style is that used by the Art Bulletin. The bibliography recapitulates the sources that have been consulted in the preparation of a manuscript but groups them by type and lists them in alphabetical order. it is important to include the edition (if later than the first). Regardless of the style that you choose. Unlike footnotes.cit. A footnote should give the reader the information he or she needs to locate the source you are citing. but can use dashes followed by a period and then begin with the title. Art historians tend to use the Chicago Manual style (which is the basis for the examples below).
by Annabel Jane Wharton.cam. Susan Stewart. Journal of the Society of Architectural Historians 61 no. Single-Authored book: Burnett. Nigel Strudwick [if there is no listed author. Website: 8.ac.5” using the hanging indent feature in your word processor. 2005. Journey of the Three Jewels: Japanese Buddhist Paintings from Western Collections (New York: Asia Society. put n. Book with more than one author: 3. Michael Baxandall.” in Visual Display: Culture Beyond Appearances. 10-12. 1979). Also.d. 3 (2002): 416.
Work in an edited anthology: 4.Single-authored book (edition other than the first): 2." New Literary History 10 (1979): 453-54. The Isaac Newton Institute for Mathematical Sciences.” New York Times. then put the institution hosting the site. if unavailable]. 169-94. Jeff Wall. Bertha Brody. NOT in the notes. 4 July 1994. Craig.newton. Martin's. in the Works of Charles Willson Peale. in that Order. John M. eds. Cristina Carbone. 2000). London: Tate Publishing. 7 July 1998 [date consulted]. Egyptology Resources [title of site]. Diana Hacker. A12. “Death and Life.
.uk/egypt/. Rosenfield and Elizabeth ten Grotenhuis. "The Language of Art History. 28.
Bibliography Format: Note that the first line of each entry is flush left and all other lines
are indented 0. remember that last name comes first ONLY in the bibliography. Newspaper article: 6. 7. such as Metropolitan Museum of Art]. Article: 5. “Illegal Immigrant Sculptor Allowed to Stay. Book review: 7. A Pocket Style Manual. Review of Building the Cold War: Hilton International Hotels and Modern Architecture. 3rd ed. 1995). (Boston: Bedford/St. Cambridge University [Institution hosting the site]. Lynne Cooke and Peter Wollen (Seattle: Bay Press. http://www. 1994 [the date the site was posted or most recently updated.
3 (2002): 416-17. and Elizabeth ten Grotenhuis. “Illegal Immigrant Sculptor Allowed to Stay. Article: Baxandall. It acquires books in all fields of art and architectural history. Nigel. A Pocket Style Manual. 1994. by Annabel Jane Wharton. 1995. archaeologists. 31-53. not any specific selection) Newspaper article: Brody. Journey of the Three Jewels: Japanese Buddhist Paintings from Western Collections. Book review: Carbone. “The Language of Art History. it now attracts scholars from around the world. Martin’s. 1994. 2000. historians. Edited by Lynne Cooke and Peter Wollen. Marquand Library
Marquand Library is a non-circulating research library intended for art and architectural historians. and Asian.Single-authored book (edition other than the first): Hacker.” New Literary History 10 (1979): 453-65. artistic photography.” New York Times. Michael. Susan. 1979. 18
. Bertha. Diana. (Page numbers in bibliographies refer to the first and last pages of the entire article.. John M. in that Order. Cambridge University.1. Review of Building the Cold War: Hilton International Hotels and Modern Architecture. 3rd ed. and other humanities scholars. Journal of the Society of Architectural Historians 61 no. Seattle: Bay Press. “Death and Life. classicists. Website: Strudwick. and several fields of archaeology including Islamic. New York: Asia Society.” In Visual Display: Culture Beyond Appearances.
Work in an edited anthology: Stewart. Boston: Bedford/St. pre-Columbian. The Isaac Newton Institute for Mathematical Sciences. Cristina. Book with more than one author: Rosenfeld. Egyptology Resources. Resources for Research
V. in the Works of Charles Willson Peale. 4 July A12. 7 July 1998. Though the initial intent of the library was to support Princeton University patrons. URL here.
upon application to the assistant librarian.000 subjects in medieval art from the Early Christian period to the end of the fifteenth century.000 images. The new facility. and photographic prints to support the departmental teaching curriculum and to provide resources for study and research. It offers. Digital images are available in Almagest and ARTstor which are accessible to the Princeton University community for teaching. Please feel free to contact staff members for help in finding and using images. it is a unique repository which is of considerable use especially for students of Western art history. Photographic prints and materials from the Princeton-sponsored archaeological expeditions can be consulted by contacting Research Photographs. Copy photography may be done only with approval of the librarian. copyright. ARTstor offers more than 1.3. The Index is currently available in both manual and electronic formats. Books used for research should be charged to the carrel or shelf. The library is open year round and during the academic year it is open 101 hours a week. which was founded in 1917 by Charles Rufus Morey.000. Located in the ground floor of the McCormick building (opposite the entrance to the departmental offices).The library is also home to numerous electronic databases (accessible throughout the campus) as well as large microform and CD collections. Rebecca Friedman. Additional digital image resources include Bridgeman Education and sources linked on the Visual Resources web site (http://www. Index of Christian Art
One of the little known resources of the Department of Art and Archaeology is the Index of Christian Art. with approximately 25 percent of the holdings available on the electronic database.000 volumes on site and over 100.000 slides is also available for use. opened in the fall of 2003. chairman of the Department of Art and Archaeology.princeton.2.
V. Students may also use the scanners in the library for the preparation of illustrations for papers or class presentations.000 images from the department Visual Resources Collection are available in the Almagest system.edu/visualresources/online-resources/). The collection has grown to nearly 300. slides.000 volumes in the Annex. The Index is open Monday through Friday from 9:00 AM to 5:00 PM. research and study purposes. One can view a rare book in the rare book reading room or peruse a favorite journal in the comfort of an overstuffed chair. The building is equipped with wireless technology as well as numerous computer outlets. in text and image formats. and equipment use. an unrivalled analysis of over 27. Visual Resources Collection
The Visual Resources Collection (207 McCormick Hall) administers the collections of digital images. Junior majors can ask for a designated shelf to store books charged for research on the junior independent projects. Every senior is entitled to a private carrel with a desk and bookcase. from the tables overlooking the center of campus to the many public computer stations and scanners. whether it is to find an illusive citation or a specific image.
V. Library staff members are eager to assist you with your research needs. The Visual Resources web site also has information about the use of images. and a paper charge slip must remain prominently displayed in the book during the loan period. More than 117. There are many different venues in which to work. has been transformed into a tranquil space filled with light. The Index also offers a small non-circulating library as well as several electronic publications not available elsewhere on campus. The collection of about 600. 19
Princeton University Art Museum
The permanent collections of the Art Museum range from ancient to contemporary art and concentrate geographically on the Mediterranean regions. All Princeton students can make appointments to see original images not on display by contacting the curators of the respective areas (see list of museum staff. with representatives from all Princeton undergraduate classes. publications. graduate education. China. the latter on loan to the Museum from the Department of Geology. with remarkable examples of the art of the Olmec and Maya. see Caroline Cassells Harris. and Roman mosaics from Princeton University’s excavations at Antioch. Significant loans amplify the collection in many areas. with important holdings in bronzes. For further information on the Center’s activities. students. including lectures and symposia.5. Student volunteers also give docent talks on the weekends. photographs. Western Europe. Term and summer internships are also available (see section on Internships in this Handbook). tomb figures. curator of education.
V. painting. metalwork. and Latin America. and pre-Columbian art. Building upon Princeton University's long history of activity. and Pre-Columbian art.V. A sponsor and facilitator of scholarly exchange. scholarship. and there is a growing collection of twentiethcentury and contemporary art. The museum’s Student Advisory Council. Dora Ching. Medieval Europe is represented by sculpture. Tang Center for East Asian Art was established in 2001 to advance the understanding of East Asian art and culture. marbles.4. Manuscripts. and the general public through interdisciplinary and innovative programs. welcomes student applicants for positions. For more information about student employment in the museum. as well as Northwest Coast Indian art. prints. Appendix). and leadership in the field of East Asian art.
V. Y. contact the director. The museum also has a conservation laboratory directed by Norman Muller and educational and outreach programs managed by Caroline Cassells Harris. which are normally consulted in the reading room located to the right upon entering the library 20
. the Tang Center brings together scholars. bronzes. or the associate director. There are numerous ways that majors can participate in museum activities and exhibitions. photographs. the Tang Center supports and encourages continuing inquiry into those issues which help to shape East Asian art. and even some paintings and sculptures are located within the Rare Books and Special Collections. The collection of Western European paintings includes important examples from the early Renaissance through the nineteenth century. and stained glass. museum development and exhibitions. Professor Jerome Silbergeld. including ceramics. Students can access museum and object records by contacting the registrar’s office. African art is represented. film series. Special study rooms exist for prints and drawings. Firestone Library
Most students know Firestone Library as the place to go for research materials. Tang Center
The P. but many are not aware of its extensive holdings in the visual arts. The Museum also has important collections of old master prints and drawings and a comprehensive collection of original photographs. Among the greatest strengths of the Museum are its collections of Chinese art. the United States.6. and calligraphy. There is an outstanding collection of Greek and Roman antiquities. and Kinmay W.
000 drawings. French.000 volumes) as well as very significant collections of Western textual and illuminated manuscripts ranging in date from the 9th to 16th centuries. paintings. papermaking. typography. prints. vintage printing presses and type. Normally.(through the exhibition space visible from the foyer). prints. Among the primary source materials are over 20. 130 Beardsley drawings. bookbinding. V. prints and photographs include the School of Architecture Library and the East Asian Library and Gest Collection.7.6. printmaking.000 early string-bound Chinese books. and the Charles Rahn Fry Pochoir Collection.000 items dating from the first primers to the latest anime cartoons. It has the largest collection of Islamic manuscripts in North America (11.d. materials in the Cotsen Library and uncatalogued materials can be consulted only by prior appointment with the curator.b. Pencils must be used at all times in the reading room.e. and illustrated books of the Western territories and states. including amateur albums by explorers and early settlers. calligraphy. which contain historic photographs.6. The collection includes more than 22. this is a treasure trove. Italian. and Byzantine world. and artists' books. the Cotsen Library has over 60. and 100 linear feet of printed ephemera such as bookplates. V. 900 Middle Eastern photographs by Felix Bonfils. as well as materials for the study of paper and papermaking. printing.Graphic Arts Collection includes artists' and private press books. and photographs related to the history of book illustration.
V. 18th. some 700 items. paintings. trade cards. V. and book design. popular culture. Other particular treasures for modernists are the photographic albums of Charles Dodgson (Lewis Carroll). Other Princeton Resources for Art Majors
Seeley G. El Lissitzky.000 examples of fine letterpress printing. photographs.and 19th-century British artists and illustrators (particularly George and Robert Cruikshank. approximately 350 blocks and plates for printmaking. Students using the reading room must check all bags and personal items in lockers provided and can only bring in laptops and paper distributed by the receptionist.6.000 objects with particular strengths in Greek and Roman coins. materials that appear in the on-line catalogue for Firestone Library can be immediately consulted. and William Hogarth). Cotsen Children’s Library: An unusual collection of illustrated children's books. prints. Numismatics Collection has over 25. Of special interest are the Sinclair Hamilton Collection of American Illustrated Books. as well as reference works on the history of the book and printing. Thomas Rowlandson.6. For anyone interested in the history of childhood. modern calligraphy. original artwork.c. Mudd Library is home to the Princeton University archives. with special strength in the English. and Edward Steichen in children’s book illustration. fine binding. and postcards. 21
. and portraits relating to Princeton. Western Americana Collection includes prints. and the often forgotten involvement of fine artists such as Kandinsky. Other libraries on campus that contain original drawings. and educational toys from the 15th century to the present day. manuscripts. Some of the most important collections for majors are the following: V. V. and the Sylvia Beach Collection. with over 102.a Manuscripts Division contains 8500 linear feet of materials ranging from 1300 cuneiform tablets to Man Ray photographs.6.
The application deadline for January travel is November 11. Since many programs entail instruction in the language of the host country. Again. Art history courses taken abroad (normally up to two per semester or four for a year in a study abroad program) can be pre-approved for departmental credit by the departmental representative. If students do not want to commit to a semester or year abroad. For specific advice about offerings in art history in Study Abroad programs. 2011. the number of awards given each year will depend on the availability of funds and the quality of the applications.
. students should complete foreign language courses at least through the 108 level and preferably at the 300-level. but the spring semester work must be done in residence. The Junior Independent Work can be completed under the supervision of a departmental faculty member with prior approval and ongoing contact with the faculty adviser. Students are required to travel coach class and to make their own travel arrangements.
VII. All courses taken overseas do not count in the calculation of departmental honors or grade point averages. which includes a cover sheet. transcripts for courses taken in foreign universities must normally be supplied. Students contemplating a semester or year abroad should contact the Study Abroad Office for a list of potential programs and advice on the application and financial aid process. Please consult the website for Study Abroad Programs (http://www. project description with detailed justification for travel. please make an appointment with the departmental representative. if a student intends to apply to graduate or professional school. Travel grants are normally limited to $1500 and are for air and ground transport and lodging only (not meals). Students applying for funds for research travel during the January break period or the summer prior to the senior year should complete the Senior Thesis Travel Grant Application. 2012. There are many fellowships awarded by Princeton and external organizations to support study abroad and summer language study. The form may be downloaded from the Dean of the College website. including boarding passes for air travel. they have the option of pursuing summer programs. The Senior Thesis research in the fall of the senior year may be done overseas. budget and itinerary. However. Grants for Support of Thesis Research
The Department of Art and Archaeology awards grants on a competitive basis for support of research travel for the Senior Thesis.edu/oip/sap/) for additional details on the funding and charges for foreign study. Students generally study abroad during the junior year or the first semester of the senior year. and one letter of recommendation.princeton. the application deadline for summer travel is May 2. Study Abroad
Foreign study can be a richly rewarding part of any concentration in the Department of Art and Archaeology. Travel monies normally are only payable upon the presentation of receipts. any courses that a student intends to count as a departmental and/or university requirement must be pre-approved by the departmental representative.
VI.Films and videos by leading directors are found in the Humanities Resource Center (011 East Pyne).
Frederick Barnard White Prize in Art and Archaeology .1. senior oral exam (5%).3. Contact Associate Dean Claire Fowler at 408 West College. Graduation Requirements
In order to graduate with a major in the Department of Art and Archaeology. Art and Archaeology Senior Thesis Prize .
VIII. such as American Studies. students must have an average of a B. Seitz Prize in the Field of Modern Art .3.3.
.or better. Lee Prize .3. junior fall independent work (5%). VIII.
VIII. In addition.A prize established by the Irvine Foundation and awarded annually for the outstanding senior thesis in the Department. Canadian Studies.
VIII. the Senior Departmental Exam. Frederick Barnard White Prize in Architecture . Class of 1883.A prize awarded to the student who has written the best thesis on an architectural topic.b. East Asian Studies. VIII.3.e. and the grade point average calculated from all courses designated as departmentals (including all courses taken outside the department and designated as cognates). Frederick Barnard White. Honors
Honors are awarded by vote of the faculty to students having the highest grade point average based on the following weighting: grades in departmentals (65%). dealing with any aspect of the Visual Arts. senior independent work (20%). Established by Mrs. Art and Archaeology majors are eligible for other prizes given by the University or outside departments or programs. Graduation Requirements. Judaic Studies. Latin American Studies. Prizes
The Department of Art and Archaeology awards the following prizes to outstanding senior graduates: VIII. and Prizes
VIII.c.A prize for a thesis in the area of Modern Art (19th – 21st centuries). based on the grades for Junior Independent Work. junior spring independent work (5%). Irma S. French and Italian Studies. VIII.3.d. Established by a split in the Frederick Barnard White Prize in Architecture and approved by the Board of Trustees in 2001.A prize awarded to the student who has written the best senior thesis on a subject involving the theory of art and architecture or their relationship to literature. the Senior Independent Work. Norman White in memory of her son.A prize awarded to the student who has written the best senior thesis in art and archaeology. Those funds are extremely limited and competitive. VIII.a. Stella and Rensselaer W. Honors.Applications may also be made to the Dean of the College.2. and the University Center for Human Values.
law. Smithsonian Museum. and a film production studio. Studioworks (summer art camp. galleries.3. Museum of London. The Office also lists sources of funding for art-related internships. magazines. and as interns with a New York Times sports photographer. see the departmental representative. Recent majors have worked at the Musée d’Orsay. photographic studios. The departmental representative has a list of recent internships. San Diego Museum of Contemporary Art. The Princeton University Art Museum awards paid summer internships to students from Princeton and other schools.
IX. Essex Co. Sotheby’s. and some term internships are available during the school year with various departments. teaching. and non24
. NJ). There are also possibilities for internships in the Rare Books and Special Collections of Firestone Library. architectural firms. see Caroline Cassells Harris. Sakip Sabanci Museum in Istanbul. On-Campus Internships and Employment
Majors are encouraged to pursue summer and term internships that may enhance their coursework and also in some cases be springboards for independent work. What Our Graduates Do
Graduates from the Department of Art and Archaeology have gone on to medical. the Internship Office at Princeton maintains a database of internships in the arts and has a special program for overseas internships. Museum of Byzantine Culture.. an advertising agency.2.4. Internship and Employment Opportunities
IX. business. Off-Campus Internships and Employment
Many of our majors have obtained internships and summer positions in art museums. Curator of Education. students also serve as docents during the weekend and can nominate themselves for the museum’s Student Advisory Board. 2012 for Summer 2012. Thessaloniki. Christie’s. Please visit their website for details of these programs: http://www. For further information. Princeton undergraduate students may work with a curator in preparation for an exhibition. among other places. Phillip’s. These funds cannot be used for internships at for-profit organizations. Metropolitan Museum of Art. Furthermore. business and professional schools as well as careers in the art world. For further information on internship and employment opportunities in the Princeton University Art Museum. and corporate collections.IX. nursing. or may be involved in cataloguing visual arts materials. such as auction houses or galleries. The deadline for applications is April 30. Interested students should either contact the International Internship Office (if they want to apply for one of the artsrelated internships handled by that office) or privately obtain an internship and then complete the Summer Overseas Internship Funding Application Form (see Appendix).edu/career/undergrads/internships/how-to-find/
IX. auction houses.1. Summer Internships at International Museums
The Department funds four internships at international museums and not-for-profit organizations through the University's International Internship Program (IIP) and directly through the Department for majors who wish to undertake a summer internship abroad.princeton. Montclair Museum of Art. Furthermore.
Alex Bueno ’06 is in the PhD program in architectural history at the Graduate School of Design at Harvard. Bryan Cockrell ’08 will pursue a MA degree at the Institute of Archaeology at University College. Chris Sahner ’07 was awarded a Rhoades Scholarship to Oxford and has returned to Princeton as a Ph. which gives children returning to flooded neighborhoods cameras and teaches them photography. student in the Department of History. Rachel Lyon ’05 is deputy editor and assistant at the art gallery and printing studio of Crown Point Press in San Francisco.D.. For example. Jennifer Edelstein ’09 is a Corporate Finance Analyst at Lazard Frères and Co. and Sarah Hogarty’10 is working for Teach for America in New Orleans.profit organizations. Ibby Caputo ’03 helped found New Orleans Kid Camera Project.
. London. Monika Jasiewicz ’10 is a first-year student at Yale Law School.
D. 1992 Room 105 & 371 ∙ Phone 8-1516 Ph. University of California. 2001 Room 304 ∙ Phone 8-8593
.D. Yale University. Heuer ∙ On Leave 2011-12 Northern Renaissance Thomas DaCosta Kaufmann Renaissance and Baroque Art Michael Koortbojian Roman Art and Architecture.D.. City University of New York... Hellenistic Art. Faculty
Bridget Alsdorf ∙ On Leave Spring 2012 Nineteenth-Century European Art Nathan Arrington Classical Archaeology Robert Bagley Early Chinese Art and Archaeology Esther da Costa Meyer ∙ On Leave 2011-12 History of Modern Architecture Rachael Z.D. 2008 Room 308 ∙ Phone 8-3732 Ph. 1980 Room 310 ∙ Phone 8-0914 Ph. 1991 Room 306 ∙ Phone 8-9098
Ph..X. Berkeley.. 1974 Room 406 ∙ Phone 8-6249 Ph. University of Tübingen..D. 2004 Room 305 ∙ Phone 8-7456 Ph. Germany. University of California. Johns Hopkins University. Stanford University.D. Harvard University.D. University of California.... 1977 Room 313 ∙ Phone 8-3760 Ph. 1987 Room 403 ∙ Phone 8-3789 Ph.D... Harvard University.D. Germany.D. Emory University. 2003 Room 315 ∙ Phone 8-5319 Ph.. 1990 Room 314 ∙ Phone 8-3790 Ph. Berkeley. 1996 Room 223 East Pyne ∙ Phone 8-7258 Ph.D. DeLue ∙ American Art Brigid Doherty ∙ On Leave Fall 2011 20th Century Art Hal Foster 20th Century Art Christopher P.D.. 2001 Room 307 ∙ Phone 8-3774 Ph.D.D.. 2010 Room 309 ∙ Phone 8-1322 Ph.. University of Tübingen. University of California. Harvard University..D.D. Yale University. Berkeley. 1976 Room 317 ∙ Phone 8-3799 Ph. Princeton University 1994 Room 316 ∙ Phone 8-9338 Ph. Renaissance Antiquarianism Thomas Leisten Islamic Art and Architectural History Anne McCauley History of Photography and Modern Art Chika Okeke-Agulu African and American Diaspora Art John Pinto ∙ On Leave 2011-12 Renaissance and Baroque Architecture Jerome Silbergeld On Leave Spring 2012 Chinese Art and Archaeology Andrew Watsky Japenese Art & Archaeology Nino Zchomelidse Medieval Art Ph.. Columbia University. Berkeley. 1981 Room 404 ∙ Phone 8-3784 Ph.D.
1965 American Art Room 301B ∙ Phone 8-3785
.D. 2007 Room 204 Scheide Caldwell ∙ Phone 8-8858 Ph. University of Virginia... University of Chicago. 2008 Room 311 ∙ Phone 8-3797 Ph. University of California.D. 2004 Room Art Museum ∙ Phone 8-7482 Ph.Visiting Faculty and Lecturers
Christina Halperin (Lecturer) Classic Maya Art and Society Caroline Harris (Lecturer) 19th-century European Art Lia Markey (Lecturer) Renaissance David Rosand (Lecturer) Renaissance Jelena Trkulja (Lecturer) Byzantine/Medieval Art History and Arch History Ph. Princeton University. Columbia University.D. Berkeley..D.D. 1965 Room 306 ∙ Phone 8-3771 Ph. Harvard University. 2004 Room 402 ∙ Phone 8-8426
John Wilmerding (Lecturer w/ Rank of Professor) Ph...D..
18-28 SCORE undergraduate registration starts at 7 am Freshman Open House. 28 Sept. 13 Sept.XI. 185 Nassau JIW exhibition opening. 7 Nov. 9:00-11:00 am. 28 Sept. 11:30 am. 14 Dec. 12:00 noon. for spring selection of courses Thanksgiving recess begins after last class Thanksgiving recess ends Classes resume Undergraduate deadline to drop fall term courses or select P/D/F option Deadline for submission of Senior Thesis outline and bibliography to advisers Last day for juniors to submit JP/Senior Thesis Adviser Form for spring Junior Independent Work Program 2 thesis show meeting. 4:30 pm. 185 Nassau Deadline to submit Program 2/Certificate Adviser Approval form for spring Junior Independent Work Midterm exams Fall recess Classes resume Deadline for Senior Thesis Travel Grant Applications (January travel) Appointments with dep. Undergraduate Calendar. 10 Jan. 22-Dec. McCormick 106 Undergraduate deadline to add or drop courses without a fee Visual Arts faculty adviser selection. 15-28 Sept. 9-17 Jan. Lewis Center for the Arts Deadline for sophomores to select spring courses Winter recess begins after last class Winter recess ends Reading period Deadline to submit Junior Independent Work Dean’s Date Fall term exams
. outside of McCormick 106 Add/drop requests approved by Dep. 28 Sept. 4:30-6:00 pm. outside of McCormick 106 Undergraduate majors meeting. 24 Sept. Lucas Gallery. rm 219. 2011-2012
Sept. 21 Sept. 185 Nassau Deadline for seniors to select spring courses Deadline for juniors to select spring courses Student holiday reception. Lewis Center for the Arts Program 2 student studio selections. 15 Dec. 8 Jan. Lucas Gallery. Fall department reception. 28 Dec. 7 Sept. 27 Sept. 2 Dec. Lucas Gallery. 24-28 Oct. 12:00 noon. 29 Oct. 14 Nov. 6:00-8:00 pm. 17 Jan. 185 Nassau Freshman Open House. Rep. 14-28 Sept. 11 Nov. 13 Dec. 13 Sept. 2 Dec. rep. 15 Sept. 185 Nassau Deadline for late submission of Senior Thesis Adviser Form to Dep. Classes begin Undergraduate add/drop period Program 2 thesis show schedule meeting. 29-Nov 6 Nov. 1:00-2:00 pm. 28 Sept. Lucas Gallery. 4:30 pm. 14 Sept. 15 Dec. 28 Nov. Rep. 16 Jan. 7 Dec. 23 Nov. Program in the Visual Arts. 27 Nov.
rep. for fall selection of courses Deadline for juniors to select spring courses Senior Thesis Research Travel Grant Application (travel for summer 2012) Deadline for sophomores to select spring courses Deadline for the Senior Thesis Deadline for submission of Summer Overseas Internship Funding Application Form Last day of class Last day for juniors to submit Senior Thesis Adviser Form Deadline for Senior Thesis Travel Grant Applications (summer travel) Reading period Deadline for submitting Junior Independent Work Dean’s Date Senior Departmental/Comprehensive Exams Spring term exams Senior Dinner Baccalaureate Class Day Commencement Day
. 6-17 March 12-16 March 17-25 March 26 March 26 April 13 April 11-27 May 2 May 2 May 3 April 4 April 29 April 29 May 2 May 2 May 7-15 May 8 May 15 May 16-17 May 16-26 May 17 Jun 3 Jun 4 Jun 5 Classes begin Undergraduate add/drop period Midterm exams Spring recess Classes resume Selection of P/D/F option begins Last day to drop spring courses or select P/D/F option Appointments with dep.Spring
Feb. 6 Feb.
did you get AP credit in art history? Did you take studio art in high school? If yes. traveling.Department of Art and Archaeology Declaration of Major Form
In order to give us more information about you and your interests in the Department of Art and Archaeology. could you please complete the following information? Name: Email address: Cell or campus phone number: I am applying to: Princeton address: Class:
_____ Program 1 (Art History) _____ Program 2 (Art History and Visual Arts) _____ Program 3 (Archaeology) _____ Undecided ____ yes ____ no ____ ____ yes ____ no ____
Did you take art history in high school? If yes. writing art reviews. teaching art in camps. lecturing on art topics. participating in exhibitions. did you get AP credit in studio art?
Previous courses in the Department of Art and Archaeology or Visual Arts:
Previous courses on visual arts topics taken at Princeton (including writing seminars):
What other experiences (such as interning in museums. taking art classes outside of school) have you had (please list in order of importance)?
What particular subjects or areas interest you within the history of art or the visual arts?
What are your career goals at this point?
Return all forms to: Rachael DeLue Department of Art and Archaeology Princeton University McCormick Hall Princeton.) ____ service projects to support art history or art education in the public schools (off-campus) ____ a new Art Club open to all Princeton students ____ social events sponsored by the department ____ an arts festival to highlight the visual arts at Princeton University ____ an exhibition of undergraduate student work ____ other ideas? (please list below)
What sorts of classes would you like to see the Department of Art and Archaeology add to its current offerings?
What do you hope to learn as a concentrator in the Department of Art and Archaeology?
What other activities. commercial printing or photo studios. or hobbies do you pursue at Princeton?
Thank you for completing this information. art magazines. NJ 08544 rdelue@princeton. or critics ____ internships in museums ____ internships with artists ____ internships with other arts-related organizations (newspaper critics. sports.What sorts of activities outside of class would you be interested in organizing or participating in (check as many as apply.edu
. put O for organizing and P for participating)? ____ field trips to museums ____ field trips to galleries/auction houses ____ field trips to artists’ studios ____ guest lectures or visits by artists ____ guest lectures or visits by art historians. community arts organizations. museum personnel. etc.
Department of Art & Archeology JP/Senior Thesis Adviser Form – Programs 1 and 3 2011-11
Please complete the following information. 2011 (for ‘12 Senior Theses). have your adviser sign this form.edu). Please contact Rachael DeLue if you have any questions about this process (rdelue@princeton. Program 1 Program 3 JP Senior Thesis
Student’s Name: Email: PUID#:
Tentative Thesis Title (or subject area):
Adviser’s Name: Adviser’s Signature: Student’s Signature: Date: Date:
Note: Once a faculty member and student agree to work together by signing this form. Rep. Rep. and return it to Professor Rachael DeLue.. Dep. 2011 (for JP’s) or May 2.
. changes in advisers can only be made under extreme circumstances and by written petition by either party to the Dep. by December 2.
but you must complete a new form if you change advisers. Film Track Certificate • Both Program 2 and Certificate students must have two advisers. Dep. you must choose an adviser for both semesters. Video/Film. 2011). Printmaking.. secondary by agreement between faculty and student. (A copy of Program 2 forms will be submitted to Professor Rachael DeLue. Photo. Painting. Primary advisers are assigned. If your faculty adviser is not here both semesters.
ADVISERS Name Primary: Secondary: Art History: Student Signature: Date: Adviser Signature
. Rep. One of your advisers must be a continuing faculty member.Program 2/Certificate Adviser Approval Form
Please submit a completed copy of this form with signatures to Joe Scanlan or Marjorie Carhart by September 29. 2011. You can use multiple forms for selecting advisers. Film Tract Certificate students completing a written thesis will use their Major thesis adviser as their secondary adviser. . Senior Program 2 students need to select an Art History adviser as well. by September 30. You can change advisers for each semester. and therefore do not need a second Visual Arts Adviser. Student Name: Email: Student PUID#: Major:
Type of Visual Arts Major: (please circle one) Area of Concentration: (please circle one):
to be submitted to the departmental representative.. budget and itinerary. must include this application form.g. a project description with detailed justification for travel (two pages max. but not food) incurred in connection with summer or winter-break research for the Senior Thesis. NAME: Campus address: Senior thesis topic: Adviser: Other sources and amount of funding pursued for this project: PUID#: Ext:
Previous funding received from Princeton or other sources for special projects:
Are you work/study qualified? Previous foreign travel: Budget Summary:
Do you receive financial aid from Princeton?
« Airfare « Lodging « Train/ground transportation «Total requested
Applicant’s signature: Thesis Adviser’s signature: Approved/Declined: Dep. The maximum grant is $1000. 2011. ground transportation. and one letter of recommendation. for summer travel. Applications.Department of Art & Archeology Senior Thesis Research Travel Grant Application Form
The Department of Art and Archeology Senior Thesis Research Travel Grants are awarded to assist departmental concentrators with the costs of travel (e. lodging. 2012.). Rep. including boarding passes for air travel. The deadline for submitting requests for summer travel for winter break travel is November 11. airfare. signature: 34
. Travel monies are payable normally upon the presentation of receipts. Funds are limited and rewarded based on the quality of the application. the deadline is May 2.
Name of Advisee: Current title of thesis:
Please check all of the following that apply: _______ This student is making appropriate progress toward the completion of the senior thesis.
Name of Faculty Adviser: Date:
. I would recommend that the student have a meeting with the departmental representative and the adviser to discuss ways to improve the student’s work on the thesis. 2012 (Dean’s Date).Senior Thesis First Term Progress Report
Seniors are supposed to submit an outline and annotated bibliography for their theses by December 2. Please complete the following and return to the departmental representative by January 17. 2011. please contact Rachael DeLue (email@example.com). Thank you. This student has not completed the research and preparation that would be expected for the fall semester. I would recommend that the student attend the thesis writing workshop. If you have any questions.
the benefits that the student would gain from working overseas (preference is given to students who have had limited overseas experience and few previous arts-related internships). Please note that juniors who receive funding for senior thesis research travel to the same site where their internship is located will have that amount deducted from this stipend. travel:
Previous arts-related internships or jobs (include years and positions):
. Sophomores who declare the major in the spring and juniors majors are eligible.
Name: Home address (or summer address if known):
Class: _______ Email address:
_________________________________________________ Phone: ______________________ Name of Host Organization: Address: Supervisor name and email: Description of position: Starting and ending dates of internship: Previous non-U. and the student’s financial need. and the amount of the award will be determined by the length of the internship and the anticipated costs of transportation and living expenses. and this completed application form. government arts organizations. 2012. students must present proof of having received the internship (a letter from a supervisor or sponsoring institution).Department of Art & Archeology Summer Overseas Internships Funding Application Form
The Department of Art and Archeology has limited funds to support students who are engaged during the summer in overseas internships with not-for-profit institutions (such as museums. The application deadline for Summer 2012 awards is April 30. or public school arts programs). a copy of the undergraduate transcript.S. board. The award can be used for room. the quality of the internship. It is not expected that the award will cover the entirety of living expenses during the internship. To apply. and transportation and will consist of a fixed stipend with a maximum amount of $4000. These awards are given based on the student’s previous performance in the Department.
how large is your total award from all sources? (use this past year’s financial aid data): How much money.
. are you expected to contribute from your summer earnings (see award letter for this amount):
Are there any other extenuating circumstances (financial or otherwise) that you want to share that might help us in determining your eligibility and need for this award?:
What are the benefits that you hope to acquire from this internship?
Proposed budget: Plane fare: Housing: Ground transport/bus/subway Food: TOTAL:
I certify that the information provided on this form is true. according to your Princeton University financial aid award. Failure to submit this letter may result in the student being asked to return all or part of this award. to the best of my knowledge.Do you receive financial aid from Princeton University or other outside sources? If so. the number of hours per week. and the general tasks performed. Signature_______________________________________________ Date__________________ Students receiving awards must present to the departmental representative by the first day of the Fall 2011 semester a letter from their supervisor written at the end of the internship summarizing the number of weeks the student worked.
edu pchugh@Princeton.edu firstname.lastname@example.org email@example.com
5864 firstname.lastname@example.org email@example.com firstname.lastname@example.org 8000 email@example.com firstname.lastname@example.org email@example.com rdunham@princeton.DEPARTMENT OF ART && ARCHAEOLOGY SUPPORT STAFF 2011-2012
Office Staff Lisa Ball Stacey Bonette Susan Lehre Patty Lieb Diane Schulte Index of Christian Art John Blazejewski Mailan Doquang Robin Dunham Judith Golden Adelaide Hagens Colum Hourihane Jon Niola Beatrice Radden Keefe Jessica Savage Visual Resources David Connelly Virginia French Marilyn Hansen Trudy Jacoby Shari Kenfield Amanda Smith Xia Wei Marquand Library Sandra Ludig Brooke Pankaj Chugh Jessica Dağci Nicole Fabricand-Person Rebecca Friedman Robert Gross Virginia Lacey Iljea Lee Nicola Shilliam Kimberly Wishart Tang Center Dora Ching Other Staff Julie Angarone Keith McRae Kit Moss 105 McCormick Hall Assistant to Chair 3781 Department Secretary 3782 Department Manager 3772 Events Coordinator 7420 Graduate Assistant 5678 A-Floor Photographer 2465 Reader 6364 Office Support 3773 Reader 7144 Reader 6365 Director 6363 Computer Support 7574 Reader 6364 Reader 7144 207 McCormick Hall Photographer 3777 Cataloguer 3776 Media Specialist/Cataloguer 3776 Director 5853 Curator Research Photos 3718 Cataloguer 3776 Far Eastern Curator 3776 Librarian 5860 Special Collections Assistant 5863 Special Collection Assistant 4904 Japanese Art Specialist 4904 Assistant Librarian 3163 Library Office Asst.edu firstname.lastname@example.org email@example.com firstname.lastname@example.org
.edu kwishart@Princeton.edu email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com 3795 firstname.lastname@example.org email@example.com 3783 firstname.lastname@example.org email@example.com firstname.lastname@example.org 2248 email@example.com 3776 firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com 3773 firstname.lastname@example.org email@example.com firstname.lastname@example.org jniola@princeton. 5863 Special Collections Assistant 5863 Special Collections Assistant 5863 Western Art Bibliographer 4904 Chinese Art Specialist 4904 405 McCormick Hall Associate Director 3795 Computer Support Maintenance Publications Editor 3782 email@example.com shilliam@princeton.
Tech Support Mgr.edu firstname.lastname@example.org email@example.com@gmail.edu ncarter@princeton. LEWIS CENTER FOR THE ARTS 2011-2012
Position Director Professor Professor Lecturer Senior Lecturer Lecturer Lecturer Lecturer Lecturer Lecturer Lecturer Lecturer Lecturer Lecturer Lecturer Lecturer Lecturer Lecturer Lecturer
First Joe P.com firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com demetrius.net firstname.lastname@example.org email@example.com firstname.lastname@example.org kseymour@Princeton.com email@example.com
Lecturer Sadie Lecturer with the ra Professor Sarah Professor Emeritus Emmet Center Manager Communications Director Communications Communications Communications Staff Staff Support Staff Staff Paul Hope Marjorie Crystal Kristy Teresa Dan
Csogi VanCleaf Carhart Henderson-Napoli Pilaro Seymour Simao
pcsogi@princeton. Adams Su Martha Eve Nathan Louis Keith Allan Daniel Kurt Demetrius Josephine David Jocelyn Pam Adam Fia Alice
Last Scanlan Sitney Friedrich Friedman Aschheim Carter Cameron Sanborn MacIntyre Heyman Kauper Oliver Halvorson Reinfurt Lee Lins Welch Bäckstrom Chung Benning Charlesworth Gowin Benevento
Campus Email firstname.lastname@example.org email@example.com gloriawilson08@gmail.PETER B.edu Dbeneven@princeton.
EDU adamietz@Princeton.. and School Programs Preston H.Princeton.EDU ciharris@exchange.Princeton.Princeton.EDU chacker@exchange.EDU Manager.EDU gibbons@exchange.EDU cb2@princeton. Retail and Wholesale Operations Curator of Educational & Academic Programs Preparator Financial Assistant Museum Superintendant Associate Registrar Manager of Exhibition Services Peter Jay Sharp Curator and Lecturer in the Art of the Ancient Americas Title
.EDU kcrowley@exchange.Princeton.EDU sgluck@princeton.EDU calbrown@exchange.Princeton.edu lkiefer@exchange.Princeton. Family.EDU bjust@exchange.EDU jguthrie@exchange.Princeton.Princeton. Foundation and Government Relations Manager of Campus Collections Preparator Executive Assistant to the Director & Manager of Special Programs Manager of Youth.EDU jsalexan@exchange.Princeton.Princeton. Haaga Jr.Princeton. Curator of Prints and Drawings Publications Assistant Manager.Princeton.Princeton.EDU dbrennan@exchange.Princeton.EDU firstname.lastname@example.org cathryng@exchange. Class of 1960.EDU jacobs@exchange.EDU bbatchel@exchange.Princeton. Collection Information and Access Managing Editor Manager.EDU devonh@princeton.EDU jochs@exchange.Princeton.EDU jfevans@exchange. Art Museum Manager of Corporate.edu choppock@exchange.EDU markh@exchange. Digital Imaging Specialist Manager of Membership and Annual Support Preparator Collection Technician Heather and Paul G.Princeton.Princeton. Haskell.Princeton.EDU jhfrankl@exchange.EDU mbrew@exchange.EDU kbaum@exchange. Marketing & Public Relations.Princeton.Princeton.EDU jfekete@exchange.Princeton University Art Museum Staff
Name Kami Abdala Rebecca Adamietz-Deo Jennifer Alexander-Hill Lisa Arcomano Todd Baldwin Louise Barrett Brice Batchelor-Hall Kelly Baum Daniel Brennan Michael Brew Calvin Brown Tracy Craig Keith Crowley Juliana Dweck Jeffrey Evans Jennifer Fekete-Donners John Franklin Molly Gibbons Laura Giles Shira Gluck Cathryn Goodwin Jill Guthrie Christine Hacker Caroline Harris Mark Harris Devon Hart Craig Hoppock Alexia Hughes Michael Jacobs Bryan Just 0616 3764 x 27 5203 9374 4341 x 14 7674 7482 x 41 8428 7615 3768 x 25 5204 x 20 7267 8805 x 05 5662 7483 2541 9866 3763 7268 7742 7212 5201 x 17 0503 x 37 7673 1714 3945 8579 3762 x 19 Phone Email kabdala@Princeton.Princeton. Class of 1970.EDU alexiah@exchange. Curator of Modern and Contempary Art Collections Data Assistant Business Manager Associate Curator of Prints and Drawings Lead Officer Preparator Manager of Interpretation Photographer.Princeton.Princeton.Princeton.EDU lgiles@exchange.EDU arcomano@exchange.
Princeton. Interim Coordinator of Membership and Annual Support Museum Assistant Associate Registrar Security Manager Assistant Curator of Asian Art
3766 x 21 5211 x 26 7094
mmccorm@exchange.Princeton.edu mpruden@princeton.Princeton. Art Museum.Princeton. Conservator Assistant Musuem Superintendent Janitor.EDU jseasonw@exchange. Art Museum.EDU nkstout@exchange.Princeton.EDU kupshur@princeton.Princeton.EDU popkin@princeton.Princeton.EDU jmsmith@exchange.EDU emurfit@exchange. Xiaojin Wu
9482 0477 5466 x 22
email@example.com hvega@exchange.EDU vpifko@exchange.EDU nmuller@exchange.Princeton.EDU xiaojinw@exchange.Princeton.Princeton. Building Services.EDU fwilliam@exchange.EDU
.EDU rmahon@princeton.EDU jmoll@princeton.EDU awise@PRINCETON.EDU cthiel@Princeton.edu caryliu@exchange.EDU firstname.lastname@example.org
3762 x19 1860 6342 1715 x 40 2229
7281 9185 5074
jprull@exchange.EDU jsteward@exchange. Mellon Curatorial Fellow for Academic Programs Curator of Photography Director Director of Institutional Advancement Director of Museum Information Technology Janitor.Princeton.Princeton.EDU rpursell@exchange.EDU mbey@princeton.Princeton. Curator of Ancient Art Inventory Project Manager Student Outreach Coordinator Preparator Collection Technician Technical Support Specialist Associate Editor and Interpretive Manager Intern Image Resources Manager Research Curator of European Painting and Sculpture Andrew W.EDU brosasco@exchange.EDU rauscher@Princeton. Collections Data Assistant Asian Art Preparator Chief Registrar.Princeton.EDU dorantes@princeton. Building Services.Princeton.edu
5828 x 38 5829 x 23 7136 5827 2870 5826 x 13 7839
krichter@exchange.Princeton.Princeton.Karl Kusserow Marin Lewis Cary Liu Rory Mahon Maureen McCormick Norman Muller Edward Murfit Dennis Orantes Michael Padgett Virginia Pifko Jessica Popkin Matt Pruden Jonathan Prull Rebecca Pursell Janet Rauscher Jeffrey Richmond-Moll Karen Richter Betsy Rosasco Johanna Seasonwein Joel Smith James Steward Nancy Stout Janet Strohl-Morgan Christine Thiel Keith Upshur Patricia Veerasamy Henry Vega Francesca Williams Albert Wise Jr.edu
3786 x 24 7784 x 31
Associate Curator of American Art.Princeton.
Project Manager How do you map time? Is history linear? The exhibition Cartographies of Time will explore graphic representations of European and American history. Bunnell Curator of Photography. This exhibition is part of Memory and the Work of Art. Selected from the Museum and private collections of Chinese painting. Associate Curator of Prints and Drawings. various ways of imaging man's relationship to mountains are explored through the ages. Bunnell Curator of Photography As Princeton's first professor of the history of photography. a yearlong collaborative investigation into the arts and cultural memory. Peter C. cultural development can be viewed as a struggle to impose order on the world of mountains and streams. from the daguerreotype and Pictorialism to contemporary 42
Name: Dates: Curators: Summary:
Name: Dates: Curator: Summary:
. through a selection of twenty-seven rarely seen books. Bunnell mentored a generation of scholar-curators while building one of the great North American teaching collections. 2011 Joel Smith. Peter C. In celebration of endowment of the Peter C. from 1972 to 2002. The Bunnell Decades showcases the great range of his scholarly interests. manuscripts. Henry Putnam Princeton University Professor of History* Calvin Brown. drawn primarily from the Department of Rare Books and Special Collections of the Princeton University Library. The Bunnell Decades July 2–October 23. 2011 Cary Liu. organized by arts and cultural organizations at Princeton University and in the Princeton community. In this sense. or as earthen ranges marking "dragon veins. and how has it changed from past to present? Mountains as towering peaks bringing man close to the heavens. and photography. and the evolution of the modern timeline." serve as the geography in which human beings live and roam. it can be said that people lived in balance between the unpredictable forces of nature and the manufactured order of civilization. In traditional China. charts. Cartographies of Time June 25–September 18. this exhibition presents works representing the major photography exhibitions mounted at the Museum during Bunnell's years at Princeton.Name: Dates: Curator: Summary:
When Men and Mountains Meet: China as Land and People March 5–September 18. 2011 Anthony Grafton. prints. and other ingenious devices. Curator of Asian Art What is the relationship between land and people in China.
Multiple Hands: Collective Creativity in Eighteenth-Century Japanese Painting explores the collective art-making process. Research Curator of European Painting and Sculpture Object of Devotion will afford visitors to the Princeton University Art Museum a rare glimpse into the spiritual lives. 2011 Karl Kusserow. to the neglect of important works produced by multiple hands. by which time it numbered more than 20. and religious aspirations of medieval Christians through the exceptional art created during this fascinating time in European history. This exhibition of sixty exquisite panels and 43
Name: Dates: Curator: Name: Dates: Curator: Name: Dates: Curator: Summary:
Name: Dates: Curators:
. sinlge painting exhibition September 17. Rothko. single painting exhibition September 17–December 11. Name: Dates: Curator: Summary: The Life and Death of Buildings July 23–November 6. disappearance and excavation. 2012 Xiaojin Wu.color photography. re-use and re-invention—as a mode of continuity that defines history and civilization. Multiple Hands offers an intimate look at paintings from the Princeton University Art Museum. the Metropolitan Museum of Art. Assistant Curator of Asian Art The study of individual artists has dominated modern art history. This exhibition focuses on two types of cooperative painting practices--workshop and collaborative-in eighteenth-century Japan. Object of Devotion: Medieval English Alabaster Sculpture December 3. The exhibition chronicles the collection’s evolution through the turn of this century. this exhibition looks beyond those events to address the long-term flux of built environments—their birth and evolution. Haskell Curator of Modern and Contemporary Art Sargent. Peter C. collective creativity played--and still plays--a major role in art-making. 2011–January 22.000 objects. 2011–February 12. and a private collection. organized by arts and cultural organizations at Princeton University and in the Princeton community. the Philadelphia Museum of Art. In Japan. hopes. 2011–January 8. Bunnell Curator of Photography On the 10th anniversary of 9/11. as in many other cultures. The exhibition serves as a cornerstone event in the yearlong collaborative exploration. 2011 Joel Smith. London Curated at Princeton by Betsy Rosasco. 2012 Kelly Baum. fears. Curator of American Art Multiple Hands: Collective Creativity in 18-Century Japanese Painting October 8. 2012 Organized in cooperation with the Victoria and Albert Museum. MEMORY AND THE WORK OF ART.
The Princeton University Art Museum is one of only two North American venues for this insightful exploration of Constable's working process. This exhibition draws from the unique resources of Princeton's Firestone Library and the University archives. including the Impressionists of latenineteenth-century France. these works are some of the finest examples from the prolific school of religious sculpture that flourished in England from the late fourteenth through the early sixteenth centuries. and churches of both aristocratic and non-aristocratic Christians. the Metropolitan Museum of Art. Name: Dates: Curator: Summary: Princeton and the Gothic Revival: 1870–1930 February 25–June 24. using Princeton's campus as a case study and launching point. the hour. London. John Constable: The Oil Sketches March 17–June 10. London--features works originally commissioned for and displayed in the homes. Dramatic and intricately crafted. it did so in part by adopting a visual language drawn from the past: the Gothic vocabulary of the “ancient universities” of Oxford and Cambridge. Princeton and the Gothic Revival: 1870-1930 explores the Gothic Revival movement in architecture and design across America at the end of the nineteenth century. its motivations. Organized by the Victoria and Albert Museum. 2012 Organized in cooperation with the Victoria and Albert Museum. 2012 (TBD) Johanna G. Taking his easel into nature. "so as to note ‘the day. London Calvin Brown. and its meanings in defining a great modern university. Andrew W. this exhibition offers a rare opportunity to investigate the significance of John Constable's contributions to British art and ultimately to the rise of Romanticism across Europe and North America.'" The openness of his brushwork and his concern for passing light effects were enormously influential for subsequent generations of artists. the sunshine and the shade. Mellon Curatorial Fellow for Academic Programs When Princeton University--then still known as the College of New Jersey--sought to modernize itself as a progressive institution of international stature. and other institutions. Seasonwein.
Name: Dates: Curators: Summary:
*Indicates a guest curator outside the staff of the Princeton University Art Museum
. Constable (1776-1837) was one of the first artists to work en plein air. Associate Curator of Prints and Drawings. chapels. Project Manager John Constable: Oil Sketches from the Victoria and Albert Museum presents a thoughtful look at one of the greatest landscape artists of all time. to suggest the central role Princeton played in the Gothic Revival movement. the Victoria and Albert Museum.freestanding figures--drawn from the world's largest collection of medieval alabasters. along with the painting and watercolor collections of the Art Museum.
Ferguson. Achenbaum.edu gfish@princeton. Brown.edu aweinma@princeton. Sibert.Class of 2012
1.edu email@example.com sgerth@princeton. Kinter. Elbert. Aslanidou. Aislinn Smalling firstname.lastname@example.org ctgreen@princeton. Elliot (Program 3) 19. James Cole. Smalling. Genevieve 10. Emma 22. Louisa 9.edu email@example.com firstname.lastname@example.org tbk@princeton. Alexis (Program 2) 4. Miller. Butler. 25.edu mthierry@princeton. Cole. Hillary 21. Koh. Zaragoza. Liliana-Meropi 3.edu email@example.com
. James (Program 2) 6. Sarah 14.edu abjohnso@princeton. Fish.edu firstname.lastname@example.org hmoss@princeton. Catherine Program 2: Alexis Brown. Ariel 23. Lopez-Finn.edu email@example.com kontulis@princeton. Anne (Ginny) 26.edu alexisb@princeton. Kontulis. Alexandra 8. Weinmann. Talia Study Abroad (fall) 18.edu asibert@princeton. Kuensell.edu czaragoz@princeton. Thierry. Christopher 12.edu firstname.lastname@example.org email@example.com laslanid@princeton. Isaiah Miller Program 3: Elliot Lopez-Finn. Aislinn (Program 3) 24. Alexis 13.edu aepps@princeton. Isaiah (Program 2) 20. Sarah 11. Epps. Yu-Jun 15. Green. Eleanor 7. Scully. Amy 2. Mary C. Gerth. Eliza 16.edu jmbutler@princeton. John Matt 5. Johnson. Moss. Clare 17.edu firstname.lastname@example.org lferguso@princeton. Kwartler.
Program 2: Bodo Buetzler. Dammers. Maximilian 10. Margaret 2. Udogwu. Kathryn 5. Sarah (Study Abroad – fall) 12.edu emetts@princeton. Magagna.edu olurie@princeton. Spinazzi.edu buetzler@princeton. Metts. Bodo (Program 2) 3. McAfee.edu email@example.com firstname.lastname@example.org email@example.com nmcafee@princeton. Grayden 8. Lurie. Nicholas 15.edu uudogwu@princeton. Preston. Laura (Program 2) 16. Garfing.edu firstname.lastname@example.org email@example.com smagagna@princeton. Buetzler.edu firstname.lastname@example.org gctwo@princeton. Chen. Micol 17. Beimfohr. Hana 6. Piacente.edu maxli@princeton. Nicholas (Program 3) 13. April Lee. Ugochukwu Udogwu Program 3: Nicholas McAfee
. Ugochukwu (Program 2)
beimfohr@princeton. Holubar. April (Program 2) 9. Gregory. Lee. Laura Preston.edu hgarfing@princeton. Li.edu kdammers@princeton. Elizabeth 14.Class of 2013
1. Gabrielle 4. Katherine (Study Abroad) 7. Oren 11.