Archive | June, 2013

New Faculty in the Department of Art History

20 Jun

The Department of Art History is delighted to welcome two new faculty members, Dr. Dipti Khera and Dr. Meredith Martin. Both will begin teaching at NYU in fall 2013.

Dipti Khera earned her Ph.D. in South Asian art history from Columbia University’s Department of Art History and Archaeology, completing a dissertation titled “Picturing India’s ‘Land of Kings’ Between the Mughal and British Empires: Topographical Imaginings of Udaipur and its Environs.” She holds M.A.’s in Art History and Archaeology as well as Museum Anthropology from Columbia University, an M.A. with Distinction in South Asian Design and Architecture from De Montfort University (Leicester, U.K.), and a B.A. in Architecture from Sir J. J. College of Architecture (Mumbai, India). Her dissertation research was supported by numerous fellowships and grants, including fellowships from the Paul Mellon Centre for British Art (London), the American Institute of Indian Studies (Chicago, IL), the Yale Centre for British Art (New Haven, CT), the Center for Advanced Study in the Visual Arts, National Gallery of Art (Washington, D.C.), where she was the Ittleson Fellow, the Metropolitan Museum of Art (New York), where she was the Andrew W. Mellon Fellow, C.V. Starr Foundation Scholarship, and Columbia University.  From September 1, 2012-June 30, 2013, she was a Postgraduate Research Associate and Lecturer at the South Asian Studies Council, MacMillan Center, Yale University (New Haven, CT). For Academic Year 2013-14, she will be the Vivian G. Prins Global Scholar at NYU.

Dr. Khera’s research interests lie in the art and urban topography of Rajasthan between the seventeenth and nineteenth centuries, including painted scrolls, large-scale paintings, maps, and drawings; intellectual thinking on the experience of urban spaces and the consumption of material things in early modern South Asia; long eighteenth century in South Asia; historiography of cross-cultural encounters in art; design, decorative arts, and art education in colonial India; modern architecture and comparative urbanism; and contemporary heritage landscapes. She has published articles and essays on nineteenth-century Indian metalwork and early nineteenth-century Rajasthani painting. She has worked with several major museums in the USA and India, including, most recently, the Arthur M. Freer and Sackler Galleries, Washington, DC and the City Palace Museum, Udaipur, India, with which she is developing an exhibition that reveals the major shift in Indian art represented by Udaipur painters’ engagement with conceptualizing place and representing reality in large-scale works in the eighteenth and nineteenth century..

Dr. Khera has taught previously at Columbia and Yale. At NYU, she will teach three undergraduate courses per year in the Department of Art History and one graduate course at the Institute of Fine Arts, in which she has an associated appointment.

In fall 2013, Dr. Khera will teach two courses in the Department of Art History:  South Asian Art I, a lecture course on pre-modern South Asian art and architecture open to all majors and other NYU students, and an advanced seminar titled Beyond and Between the Mughal and British Empires: Cross Cultural Encounters in South Asian Art, 1500-1900.

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Professor Dipti Khera

Meredith Martin earned her Ph.D. from Harvard University’s Department of the History of Art and Architecture, completing a dissertation titled “Dairy Queens: Sexuality, Subjectivity and Space in Pleasure Dairies from Catherine de’ Medici to Marie-Antoinette.” The research for her dissertation was supported by a Samuel H. Kress Foundation Travel Fellowship, a Chester Dale Predoctoral Fellowship from the Center for the Advanced Study in the Visual Arts, National Gallery of Art (Washington, DC), and fellowships from Harvard University. She held an Andrew W. Mellon Postdoctoral Fellowship in the Department of Art and Archaeology, Columbia University, as well as a fellowship from The Drawing Institute at the Morgan Library and Museum.

Dr. Martin’s research interests focus on notions of space in modernity—its esthetics, its class implications, and its gendered norms and contradictions. Her dissertation formed the basis of her book, Dairy Queens: The Politics of Pastoral Architecture from Catherine de’ Medici to Marie Antoinette (Harvard University Press, 2011), which was a finalist for the Berkshire Conference of Women Historians First Book Prize.  Dr. Martin has published numerous articles, essays, and reviews on Bourbon regime architectural history and decoration as well as contemporary art. With Denise Baxter, she edited Architectural Space in Eighteenth-Century Europe: Constructing Identities and Interiors (Ashgate, 2010); and with Scott Rothkopf, she authored Period Eye: Karen Kilimnik’s Fancy Pictures to accompany an exhibition at London’s Serpentine Gallery (2007). More recently, she has examined the impact of global exchange on French art, architecture, and material culture. Her current projects include a study of diplomatic and cross-cultural encounters in eighteenth-century French art and a symposium on global exchange, “Objects in Motion in the Early Modern World,” organized with Daniela Bleichmar and Joanne Pillsbury at The Getty Research Institute.

Dr. Martin has taught at Harvard, Columbia, and, since 2008, Wellesley College, where she was Assistant Professor of 18th– and 19th-Century European Art. At NYU, she will teach three undergraduate courses per year in the Department of Art History and one graduate course at the Institute of Fine Arts, where she has an associated appointment.

In fall 2013, Dr. Martin will teach two courses in the Department of Art History: an advanced special topics lecture on Art in the Age of Revolution: European Painting, Sculpture, and Architecture, c. 1750-1875, and an advanced seminar on Art, Artists, and the Modern Public.

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Professor Meredith Martin

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Meredith Martin’s book


{ TEMP } presents:

19 Jun



Check out the article in the most recent NYU Alumni Magazine, Issue 20 (Spring 2013), on Department of Art History alumni Ari Lipkis (’11) and Alex Ahn (’11) and their art space, TEMP (and for more on TEMP, see our August 31, 2012, November 8, 2012, and April 1, 2013 blogposts)

17 Jun

temp (1)

Post from Grey Art Gallery Blog by DAH Honors Student, Devon Hersch ’14

13 Jun

Visiting Donald Judd’s Home and Studio in SoHo

Moving through Donald Judd’s newly renovated home at 101 Spring Street, the Grey Art Gallery’s staff recently enjoyed a preview that allowed for a uniquely personal exploration of the artist’s life and work. The Judd Foundation has clearly gone to great lengths to preserve the setting of this five-story loft as it was when the artist lived there. In other words, much work has been done to avoid the often sterile atmosphere of museum and gallery spaces. Thus, artworks go unlabeled and are dispersed amid the house’s furnishings and other accoutrements. The only exception to this policy is on the first floor, where two newly installed works by Judd and a sculpture by Carl Andre reside in an otherwise mostly empty space surrounded by large plate-glass windows fronting on the street.

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101 Spring Street, New York, 2nd Floor, 2013. Photo Credit: Josh White. Image © Judd Foundation. Art © Ad Reinhardt. Donald Judd Furniture™© Judd Foundation

From there, visitors ascend to the second floor flanked on the staircase by a series of African masks. This level consists of a kitchen and informal dining space. Everyday and personal objects lie about casually, interspersed with the art Judd chose for his home. On view here are a red painting by Ad Reinhardt and a most interesting large wall fresco by David Novros, which is currently in the process of being restored. Seeing the artist’s characteristic multi-colored abstractions at such an immense scale is highly intriguing.

Judd’s studio takes up the third floor, conjuring up the environment in which he created his works. An architect’s desk covered with protractors, pencils, and other objects stands before one of the many large-paned windows that fill the rooms with natural light. This is easily overlooked, however, as a massive aluminum object designed by Judd commands the space. Appropriately for Judd’s studio, this work epitomizes his desire for art to determine how viewers move through a place.

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101 Spring Street, New York, 4th Floor, 2003. Photo Credit: Rainer Judd. Judd Foundation Archives. Image © Judd Foundation. Art © Frank Stella. Donald Judd 101 Spring Street, New York, 4th Floor, 2003. Photo Credit: Rainer Judd. Judd Foundation Archives. Image © Judd Foundation. Art © Frank Stella. Donald Judd Furniture™© Judd Foundation

The fourth floor includes a formal dining hall and boasts impressive artworks. This includes the dining table and chairs themselves, crafted to Judd’s own designs. Two early works by Dan Flavin from his “icon” series and a large color painting by Frank Stella also inhabit the room.

Fittingly, Judd’s bedroom, on the fifth and final floor, caps the experience. After walking down a narrow corridor one is guided into the space by an enormous fluorescent-light installation by Dan Flavin. It extends the entire length of the room and is the only light source except for a small reading lamp and flashlight. In such an intimate location, this work has an amazing effect. Indeed, everything about this room exudes Judd’s philosophy: an efficient arrangement of space exuding the clarity and presence of the objects inhabiting it.

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101 Spring Street, New York, 5th Floor, 2013. Photo Credit: Josh White. Donald Judd Art © Judd Foundation. Licensed by VAGA, New York. Artwork © John Chamberlain. © Lucas Samaras. Dan Flavin © Stephen Flavin/Artists Rights Society (ARS), New York. Donald Judd Furniture™© Judd Foundation

For instance, the bed has no frame and consists simply of a mattress on a very low Judd-designed platform. Surrounding it are but a few artworks, allowing room for each work to breathe and signal its autonomy. These works include two early works by Judd, a crushed-automobile sculpture by John Chamberlain, a hanging piece by Claes Oldenburg, and the aforementioned Dan Flavin installation. Other works are found in the smaller rooms. Overall, visiting Donald Judd’s New York home and studio was an amazing experience, one I highly recommend once it opens to the public in June 2013.

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Exterior, 101 Spring Street, New York, NY. Photo: Joshua White-© Judd Foundation 2013

Guided visits of 101 East Spring Street will begin on June 18, 2013, and tickets can now be purchased through an online booking system. To book a visit, or for more information, please go to the Judd Foundation’s website.

–Written by Devon Hersch, Grey Art Gallery Intern and CAS Art History ‘14