lindsay.bremner@temple.edu

jonathan.brooke.harrington@temple.edu

sally.harrison@temple.edu

brigitte.knowles@temple.edu

rashida.ng@temple.edu

eric.oskey@temple.edu

sneha.patel@temple.edu

john.pron@temple.edu

vojislav.ristic@temple.edu

scott.shall@temple.edu

trempe@temple.edu

srdjan@temple.edu

katherine.wingert-playdon@temple.edu

jo-anna.moore@temple.edu

wendy.osterweil@temple.edu

pepono@temple.edu

william.yalowitz@temple.edu

steven.berkowitz@temple.edu

marilyn.holsing@temple.edu
www.marilynholsing.com

richard.hricko@temple.edu

samantha.simpson@temple.edu

larry.spaid@temple.edu

john.wade@temple.edu

neil.kosh@temple.edu

Rochelle.Toner@temple.edu

Andria Bibiloni
Mark Blavat
Chris Davison
Pia Deinhardt
Jon Manteau
Beth Peckman
Orlando Pelliccia

philip.betancourt@temple.edu

PHD, University of Pennsylvania
MA, Washington University
BS, Southwest Missouri State University

Philip P. Betancourt is a specialist in the Aegean Bronze Age. His main research centers on the Minoan civilization of ancient Crete, and he has directed several archaeological projects on the southern Aegean island. He received a Ph.D. from the University of Pennsylvania in 1970 and an honorary Ph.D. from the University of Athens in 2000. He has been teaching at Temple since 1970, and he holds the Laura H. Carnell Professorship in Art History and Archaeology. He served as department chair for 19 years, and he teaches both in the department’s undergraduate and graduate programs as well as in the university’s Core Program. He is regarded as a specialist in ancient pottery, and he has also worked extensively with early Greek architecture. Among his many books are The Aeolic Style in Architecture (1977), The History of Minoan Pottery (English edition 1985; Greek translation 1993), and several volumes resulting from his excavations. Among the places where he has worked are Pseira, a Bronze Age seaport in eastern Crete (published as Pseira vols. I to IX), Kommos, a large town in southern Crete (Kommos vol. II, 1974), and Chrysokamino, the earliest copper smelting workshop excavated in Greece (Chrysokamino: The Metallurgy Site and Its Territory, 2006). As the Executive Director of the Institute for Aegean Prehistory, a non-profit institute, he planned and then oversaw the construction and operation of the American research center in eastern Crete (the INSTAP Study Center), a facility that now accommodates over a hundred scholars and students every year (including many from Temple’s Art History department) and supports their research in ancient studies of many types. In 2003, he received the Archaeological Institute of America’s Gold Medal for a lifetime of distinguished archaeological achievement, which is his field’s highest award.

elizabeth.bolman@temple.edu

PhD, Bryn Mawr College, 1997
MA, Bryn Mawr College, 1992
BA, Smith College, 1983

CV *.PDF

Elizabeth Bolman specializes in Christian art of the eastern Mediterranean from Late Antiquity through the Byzantine period, with a particular focus on Egyptian Christian (Coptic) wall paintings. She is currently working at two monastic sites near Sohag in Upper Egypt. At the Red Monastery, she is directing the conservation of wall paintings dating to circa the seventh century. She is currently developing a book on the paintings and their larger monastic setting. Bolman also founded the White Monastery Project, for which she is now the Associate Director. It is a multi-disciplinary endeavor involving archaeological work, wall painting conservation, and scholarly analysis at one of the largest and most famous Late Antique monasteries in Egypt.

Bolman has published numerous scholarly articles, and is the editor of and chief contributor to Monastic Visions: Wall Paintings in the Monastery of St. Antony at the Red Sea, published by Yale University Press and the American Research Center in Egypt. She is the recipient of many fellowships from institutions including the J. William Fulbright Foundation, the Samuel H. Kress Foundation, Dumbarton Oaks, the National Endowment for the Humanities, and the American Research Center in Egypt. In 2008, Bolman received the College Art Association Heritage Preservation Award for Distinction in Scholarship and Preservation.

braddock@temple.edu

Ph.D., University of Delaware
M.L.S., Library Science, University of Maryland
M.A., Johns Hopkins University
B.A., Grinnell College

CV *.PDF

Alan C. Braddock teaches courses in the history of American art and visual culture from the colonial period to the present. His scholarly research focuses on issues in realism, modernity, and the relationship between art and environmental history. He is the author of Thomas Eakins and the Cultures of Modernity (University of California Press, 2009), for which the press awarded him an Ahmanson Foundation Publication Grant. He is also the co-editor, with Christoph Irmscher (Indiana University), of A Keener Perception: Ecocritical Studies in American Art History (University of Alabama Press, 2009). Braddock and Irmscher have received a grant from the National Endowment for the Humanities to direct a Summer Institute on “Picturing John James Audubon” at Indiana University in July 2009. Braddock is the author of various articles in journals such as American Art, American Quarterly, Nineteenth-Century Art Worldwide, and Winterthur Portfolio, among others. His article “‘Jeff College Boys’: Thomas Eakins, Dr. Forbes, and Anatomical Fraternity in Postbellum Philadelphia” (American Quarterly, June 2005), was awarded the annual Article Prize of the Nineteenth-Century Studies Association and was a runner-up for the Constance Rourke Prize of the American Studies Association. Professor Braddock joined the Temple faculty in August 2007 after teaching for several years at Syracuse University. While on leave from Temple in 2008-2009, he organized the exhibition “Modernists in New Mexico” as Associate Curator of the Georgia O’Keeffe Museum in Santa Fe. During the academic year 2006-2007, Professor Braddock was a faculty fellow-in-residence at Harvard University’s Charles Warren Center for Studies in American History, where he worked on his book-in-progress Gun Vision: The Ballistic Imagination in American Art from Homer to O’Keeffe. Professor Braddock has also been awarded fellowships by the Georgia O’Keeffe Museum Research Center, the American Council of Learned Societies, the Luce Foundation, and the Smithsonian American Art Museum.

tracy.cooper@temple.edu

PHD, MFA, Princeton University
BA, MA, University of California
Certificate, Centro Internazionale di Studi di Architettura, Andrea Palladio, Vicenza, Italy

Dr. Tracy E. Cooper (Princeton University, 1990) is Professor of Italian and Southern Renaissance and Baroque art and architecture. Her specialization is Venetian and early modern cultural history, with particular interests in architecture/ urbanism and patronage studies. Her new book "Palladio’s Venice: Architecture and Society in a Renaissance Republic," Yale University Press, London and New Haven (2005) has had major interdisciplinary impact, been widely reviewed, and is the recipient of prestigious awards. She has received fellowships from the Center for Advanced Study in the Visual Arts, National Gallery of Art, the Gladys Krieble Delmas Foundation for Venetian Research, and the Eli Lilly Endowment, as well as numerous university and college grants. She has spoken and published widely in English and Italian on early modern architecture and culture, and recently was a member of the interdisciplinary graduate faculty of Venice International University (a collaboration of Duke University and IUAV di Venezia) in Venice, and of the Centre for Acoustic and Musical Experiments in Renaissance Architecture (CAMERA), at the University of Cambridge (UK), as well as the forthcoming international collaborative project “Printing and its Publics in Early Modern Italy.” Her involvement in museum work continues as she is on an advisory committee for a future exhibition on Titian, Tintoretto, and Veronese at the Boston Museum of Fine Arts. She has been a leader in technology adoption at the college and university and works to keep global education in the forefront of university policy and to promote student experiences abroad at all levels. Her concerns about international education and the incorporation of teaching with technology are addressed in course content, assignments, and digital delivery: she hopes to inspire her students to take advantage of Temple’s global offerings and new technologies as well as original resources for research.

abraham.davidson@temple.edu

PHD, Columbia University
MA, Boston University
BJeD, Hebrew Teachers College Judaics
BA, Harvard University

Abraham A. Davidson’s field is the history of American and Modern Art, with a concentration on the history of American Painting and Sculpture from c. 1840 to c. 1940. The artists covered in five of his seven books fall in that period. His special interest is in the American “Visionary” painters (covered in his The Eccentrics and Other American Visionary Painters of 1978) and the Early American Modernists (covered in his Early American Modernist Painting, 1910-1935 of 1981 and 1994). He is also an avid photographer, and published a book of his photographs from 1964 to 2004 in 2005. He has been at Temple since 1968, and has been published in every year except four since 1964.

The high school I attended, Boston Public Latin School, saw itself as the most academically demanding school in the country.  Pehaps this was true: we regularly placed three or four in the top five of the National Honor Society exams.  I took six years of Latin, four of French, and three of German.  The hard sciences were not the school's strong suit.  There was nothing of art or music in the curriculum.  I believe a great accomplishment of mine was winning a letter in cross country. Only ten letters were given, many tried.  I was the worst of the ten.  I never came close to winning but finished every one of the 2 1/2 mile races held in Roxbury, MA's Franklin Park.
      At Harvard, which I attended from 1953 to 1957, I believed there was some secret thing I was destined to be.  If I discovered this, I would be at the very top of things, if I would not, I would wind up a derelict on the streets.  Subsequently I changed majors seven times, finally winding up in City Planning within Architectural Sciences.  In drawing classes, I could never get perspective down "correcctly."  In my senior year Professor Norman Newton took me aside and said:"we've decided not to take you in the graduate architecture program." I said that I hadn't applied yet. He said:"Don't"  He added that I might be allowed to continue in City Planning (considered lower in prestige).  I thought City Planning was beset by politics, while art history was something "purer."  Little did I then realize....
       At Columbia University I worked for my Ph.D in art history.  My decision to specialize in the history of American Art was a calculated one.  Very broadly, I saw Classical and Renaissance Art as centered on "perfection" which did not appeal to me.  Neither did Baroque Art with its love of ornateness.  Medieval art was centered obn Christianity, and the "battle lines" in nineteenth century art were already  drawn.  American Art seemed to me a fresh and open discipline.  Now there are many more scholars in the field than therewere then.  My research has centered on American Painting from about 1860 to about 1940.  I've written six scholarly books and one book on my own photography. I love nineteenth century American painting, which reveals an America now nearly vanished.
       When I came to Tyler in 1968 the Viet Nam War was still in full throtle and the dorms in Elkins Park had just been built.  The key word used by students in my classes was "relevant."  "Is this relevant to learn," they would ask.  Now the question is whether something will be in an exam, relevant or not.  But students seem more passionate about their work than they were twenty years ago.  There are more exhibitions in Philadelphia than any time in my memory, more going own.

Abraham A. Davidson

therese.dolan@temple.edu

PHD, Bryn Mawr College
MA, Bryn Mawr College
BA, Mundelein College

CV *.PDF

Therese Dolan is a modernist art historian who specializes in 19th century French art and has also published on contemporary art. She has authored two books, Inventing Reality: The Paintings of John Moore for Hudson Hills Press, 1996 and Gavarni and the Critics for University of Michigan (UMI) Press in 1981. In 2006she also contributed an essay to Women in Impressionism, an exhibition at the Ny Carlberg Glyptotek in Copenhagen and a chapter in L’Oeil Écrit. Études sur des rapports entre texte et image, 1800-1940. Currently she is working on a book entitled Artworks of the Future: Manet, Wagner and Liszt on the subject of art and music in nineteenth-century France. She has also published numerous articles in refereed scholarly journals, including Word & Image, Print Quarterly, Nineteenth Century French Studies, Art Bulletin, Women's Art Journal, the Gazette des Beaux Arts, and Nineteenth-Century Art Worldwide among others. In 1982 she received an American Council of Learned Societies Travel Grant. In 1984 she participated in a National Endowment for the Humanities Summer Seminar at the University of Pennsylvania on Literature and Art, and in 1985 team taught as a Humanist Scholar in a National Endowment for the Humanities College Summer Humanities Workshop at Philadelphia Community College. In 2002 she received a National Endowment for the Humanties summer fellowship to study with Carolyn Abbate at Princeton University on opera and voice. She was a recipient of the Christian R. and Mary F. Lindback Award for Distinguished Teaching (2002) and a Great Teacher Award in 2006 at Temple University. She has been on the Board of the Interdisciplinary Nineteenth-Century Studies Association since 1990, serving as President of the organization from 1992-94. In June 2000 she organized and hosted an international conference “Ways of Seeing” at the Université de Paris X at Nanterre, France. In the summer of 2003 she was co-coordinator of “Nineteenth-Century Worlds: Local/Global” in London. She currently serves on the board of the Art Historians of the Nineteenth-Century Association, affiliated with the College Art Association.

jane.evans@temple.edu

PhD, MA, Classical Archaeology, University of Pennsylvania

CV *.PDF

Jane DeRose Evans is a field archaeologist who has worked on sites in Philadelphia, Greece, England, Italy, Israel, France, and, currently, in Turkey. Her broad interests lie in the archaeology of the Roman world, with a specialization in ancient Roman and Byzantine coinage. Currently she is the Numismatic Specialist for the Harvard Expeditions to Sardis, Turkey. She has published books and articles on the propaganda on coins, sculpture, and painting of the Roman Republic; a study of the economy of Hellenistic, Roman and Byzantine Palestine as revealed by the excavated coins of Caesarea Maritima in Israel; a study of the female statues in the Theater of Pompey in Rome; and has co-written an article on the process of acculturation in Javols, France. Future projects include the publication of the excavated remains in Field C in Caesarea Maritima from the JECM project and an edited volume, “The Companion to Roman Republican Archaeology” from Wiley-Blackwell.
Evans teaches a wide range of undergraduate courses, from “The Art of Sacred Space: Romans, Christians and Jews in the 1st-6th centuries”; “Ancient Counterfeits, Looting and the Ethics of Collecting”; “Greek and Roman Sculpture” to graduate seminars on Republican Rome, The Age of Augustus and Hellenistic and Roman Painting. She is on MFA review committees, MA and PhD (Art History) committees, and is affiliated with the Department of Greek and Latin

gold@temple.edu

Dr. Gold holds a Ph.D. from the University of Pennsylvania, and an MA from the University of North Carolina, Chapel Hill. She joined the faculty at Tyler in 2005 as a specialist in 19th-and 20th-century American Art History, with specific interests in Racial Politics and Exhibition Theory. She has received postdoctoral fellowships from the Penn Humanities Forum, Winterthur Museum and Country Estate, the Library Company of Philadelphia and the Historical Society of Pennsylvania to pursue research projects on the memory of the Civil War at the 1876 Centennial Exhibition, and the discourse of mixed race heritage in American visual culture. She has published in American Quarterly, Pennsylvania Magazine of History and Biography, Civil War History, New England Quarterly, Mississippi Quarterly: The Journal of Southern Cultures, Reviews in American History, and the Grove Encyclopedia of American Art, and has delivered papers and lectures at the American Studies Association, the College Art Association, the American Historical Association, the Los Angeles County Museum of Art, the Union League Club of Philadelphia, the Philadelphia Museum of Art, the Pennsylvania Academy of the Fine Arts, the Ackland Art Museum, and Payne Theological Seminary. She is currently working on the Bishop Richard Allen Monument, 1876, the first public sculpture dedicated to an African American, and sponsored by African Americans.

marcia.hall@temple.edu

Ph.D, Harvard University
M.A. Radcliffe College
B.A. Wellesley College

Marcia Hall teaches and writes about Italian Renaissance art, principally painting. Her current project is a book called The Sacred Image in the Renaissance, which takes her back to two of her previous interests, her first book, Renovation and Counter-Reformation (1979) and Color and Meaning (1992) where she investigated the painting techniques of Renaissance artists. She has written and edited volumes on Raphael and Michelangelo. She incorporates these interests in her undergraduate teaching, using After Raphael (1992) as the text for her course on Sixteenth-Century Painting in Italy. At the graduate level she has recently taught seminars on “Making a Renaissance Painting,” “Art in the Time of Sixtus V,” “The Sacred Image after the Council of Trent, “ and “Michelangelo.”

Dr. Hall has been the recipient of numerous grants in support of her research. She has been awarded three fellowships by the National Endowment for the Humanities, two Fulbright Fellowships, a fellowship at the Villa I Tatti (the Harvard Center for Italian Renaissance Studies) in Florence, Italy, and was a visitor at the Institute for Advanced Study in Princeton. She directed an NEH Summer Seminar for College Teachers in Rome, and she has taught Renaissance art on Temple University’s Rome campus . She is a frequent contributor to sessions of the Renaissance Society of America and is on the editorial board of Studies in Iconography.

Dr. Hall is the Director of Graduate Studies for the department.

jdkline@temple.edu

Ph.D. Temple University
M.A. University of North Carolina at Chapel Hill
B.A. Temple University

Jonathan Kline is a specialist in the art of the Italian Renaissance and the European Middle Ages. His particular interests lie in the construction and communication of meaning in visual art, in the differences and continuities between historical periods, and in the Renaissance use of classical subjects as a means of conveying Christian content. He is the author of forthcoming articles on Botticelli's celebrated Primavera and Luca Signorelli's frescoes in the Cappella Nuova of Orvieto Cathedral and is currently working on a book on Christian / classical typology in Renaissance art.

gerald.silk@temple.edu

Dr. Gerald Silk, Professor of Modern and Contemporary Art, has been Chair of the Art History Department since 2004. He holds an AB in History from Brandeis University and Ph. D. (with distinction) in Art History from the University of Virginia. Silk taught at Columbia and the University of Pennsylvania prior to arriving at Temple in 1988. He has published widely on modern and contemporary art. Areas of focus include: censorship; portraiture; Italian modernism; the Sixties; and technological iconography.

His books include Automobile and Culture and Museums Discovered: the Wadsworth Atheneum and his essays have appeared in Art Criticism, Art Journal, and Artsmagazine. His many book chapters include: Donatello Among the Blackshirts: History and Modernity in the Visual Culture of Fascist Italy (Cornell University Press, 2005); The Airplane in American Culture (University of Michigan Press, 2003); True Relations: Essays on Autobiography and the Postmodern (Greenwood Press, 1998); Suspended License: Essays in the History of Censorship and the Visual Art (University of Washington Press, 1997); and Twentieth Century Art Theory: Urbanism, Politics, and Mass Culture (Prentice-Hall, 1990).

He has written catalogue essays and curated for museums internationally, including the Museum of Contemporary Art, Los Angeles; National Air and Space Museum, Washington; Institute of Contemporary Art, Philadelphia; Hara Museum of Art, Tokyo; and Palazzo Grassi, Venice. He served on the editorial boards of ArtsMagazine and Art Journal and consulted for the Getty Art History Information Program and the Craft & Folk Art Museum, Los Angeles. He has been an American Academy in Rome Prize Fellow, a Center for Advanced Studies in the Visual Arts Senior Fellow, and received grants from the NEH and Mellon Foundation. In 2000, he was recipient of a Lindback Award for Distinguished Teaching.

ashley.west@temple.edu

PhD, University of Pennsylvania
MA, Williams College Graduate Program in the History of Art
BA, Yale University

Ashley West teaches courses on Northern Renaissance and Northern Baroque art, covering the terrain of the Holy Roman Empire from Austria and Germany to the Netherlands, and from Bohemia to Spain. Her work engages many aspects of early modern visual culture. With a particular expertise in the history of prints, she is interested in the role of the graphic arts within the meta-narrative of art history that has tended to privilege the original, authorial work of art (Kunstwerk) over the creation and display of the religious cult image (Kultbild). She studies questions of cultural transmission and the dissemination of knowledge in the early modern period, as well as opportunities for artistic exchange through travel and portable objects, pilgrimages, diplomacy, warfare, global trade and exploration, and early collecting practices. In this regard, she also considers the flow of images, goods, people, and ideas across the Alps to the south and east to the Ottoman Empire.

Prof. West has several years of museum experience in curatorial and conservation capacities in some of the finest collections in the country, including the Philadelphia Museum of Art and the Clark Art Institute. Her work has been supported by the Center for Advanced Study in the Visual Arts (CASVA) and Andrew Mellon Foundation, among others, and she has conducted year-long research at the Zentralinstitut für Kunstgeschichte in Munich and the Max-Planck-Institut für Wissenschaftsgeschichte in Berlin. Recently she has published on woodcuts of late medieval relic collections; history painting and the German sense of the past; and early representations of peoples from the coast of Africa and India. Her current book project reevaluates notions of the German Renaissance through the work of Hans Burgkmair, a contemporary of Albrecht Dürer.

glenn.benge@temple.edu

jack.wasserman@temple.edu

mwerner@temple.edu

chad.curtis@temple.edu
http://www.chaddcurtis.com

daniel.cutrone@temple.edu

nicholas.kripal@temple.edu

sharyn.omara@temple.edu

jonclark@temple.edu

robert.winokur@temple.edu

rebecca.medel@temple.edu

gerard.brown@temple.edu
www.gerardbrown.net

sfritch@temple.edu

nichola.kinch@temple.edu

kathryn.murken@temple.edu

eva.wylie@temple.edu

alice.drueding@temple.edu

kelly.holohan@temple.edu

stephanie.knopp@temple.edu

scott.laserow@temple.edu

dermot@temple.edu

dnoyes@temple.edu

scorsone@temple.edu

paul.sheriff@temple.edu

kim.strommen@temple.edu

Doug Boehm
Melissa Crispin
Steve DeCusatis
Paul Fuentes
Paul Kepple
Jason Kernevich
Soonduk Krebs
Keith Somers
Dustin Summers
Rodd Whitney

stanley.lechtzin@temple.edu

vickie.sedman@temple.edu

frank.bramblett@temple.edu

philip.glahn@temple.edu

margo.margolis@temple.edu

Susan.Moore@temple.edu

keith.morrison@temple.edu

d.nelson@temple.edu
www.donanelson.com

odili.odita@temple.edu www.odilidonaldodita.com

mark.shetabi@temple.edu

charles.schmidt@temple.edu

stanley.whitney@temple.edu

michael.becotte@temple.edu

martha.madigan@temple.edu

sfritch@temple.edu

rebecca.michaels@temple.edu

daniel.dallmann@temple.edu

john.dowell@temple.edu

hesters@temple.edu
www.hesterstinnett.com

MFA Tyler School of Art of Temple University
BFA Hartford Art School, University of Hartford

Hester Stinnett’s work has been exhibited nationally and internationally, and is in numerous private and public collections, including the permanent collections of the National Gallery of Art, Philadelphia Museum of Art, and the Walker Art Center. In 2004 she was awarded a Pennsylvania Council Artist Fellowship for Works on Paper. She was an Artist in Residence at the Fabric Workshop in 2003, and has presented printmaking workshops at the Haystack Mountain School of Crafts in Maine and the Anderson Ranch Arts Center in Colorado. With co-author Lois M. Johnson she wrote Water-based Inks: A Screenprinting Manual for Studio and Classroom published by the University of the Arts Press with grants from the NEA and Hunt Manufacturing Co.

Currently Professor of Printmaking at the Tyler School of Art of Temple University, she has also taught at The Pennsylvania Academy of the Fine Arts, The Philadelphia College of Art (now University of the Arts) and Bryn Mawr College. She received a BFA from the Hartford Art School, University of Hartford and an MFA from the Tyler School of Art of Temple University.

eva.wylie@temple.edu

kolivier@temple.edu

jude@temple.edu

winifred.lutz@temple.edu