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2014 No. 74

FEATURES:

Member News and Publications

In Memoriam

About Curating and About Teaching

Conferences and Exhibitions 2013-14

A m e r i c a n C o u n c i l f o r

Southern Asian ArtA C S A A

4 A C S A A 7 4 S U M M E R 2 0 1 44

Melody Rod-ari, Editor

Assistant CuratorSouth and Southeast Asian ArtNorton Simon Museum411 W. Colorado Blvd. Pasadena, CA 91105e-mail: [email protected]

Cathleen Cummings, Webmaster

Assistant Professor of Art HistoryDepartment of Art & Art HistoryUniversity of Alabama at Birmingham113 Humanities900 13th Street SouthBirmingham, AL 35294e-mail: [email protected]

Catherine Becker, ACSAA Secretary

Assistant Professor of Art HistoryDepartment of Art History (M/C 201)University of Illinois at Chicago935 W. Harrison St.Chicago, IL 60607

This is the seventh issue of the annual ACSAA Bulletin. The Bulletin serves to archive member news including recent publications, exhibited artwork, conference presentations, invited lectures and curatorial work. It also features symposia/conferences and exhibitions.

Time-sensitive material, such as the opening and closing dates of speci c shows, employment opportunities, and calls for papers are now found on ACSAAs website: www.acsaa.us.

We invite you to actively visit the website to plan museum and gallery research trips, to nd deadlines for conferences and job postings, as well as for membership renewal.

With this issue, I would like to thank everyone at ACSAA for their support and generosity in making the Bulletin possible. I encourage everyone to send information throughout the year and request that you use the subject line: ACSAA Bulletin.

As the contents of the Bulletin depend on member submissions, please continue to keep us informed of all scholarly endeavors, activities and interests.

Melody Rod-ari, Editor

Editorial Staff

5A C S A A 7 4 S U M M E R 2 0 1 4 5

7

From the ACSAA President

8

ACSAA Member News

11

ACSAA Member Publications

13

In Memoriam: A Tribute to our Recently Departed

16

About Teaching

18About Curating

19

Conferences 2014AAS, CAA

28

Museum Exhibitions 2014-15

The ACSAA Bulletin is published by the American Council for Southern Asian Art, a nonpro t organization dedicated to the encouragement and advancement of the art of South and Southeast Asia and to the communication and sharing

of knowledge among scholars and all others interested in the arts. It is published annually in the Summer and is distrib-

uted to members of ACSAA.

Editor

Melody Rod-ari, Norton Simon Museum

ACSAA Offi cers

Stephen Markel, Los Angeles County Museum of ArtPresident

Deepali Dewan, Royal Ontario MuseumVice-President

Catherine Becker, University of Illinois at ChicagoSecretary

Deborah Hutton, The College of New JerseyTreasurer

Board of Directors

Molly E. Aitken, City College, City University of New York John Cort, Denison University

Lisa N. Owen, University of North TexasRashmi Viswanathan, New York University

The Bulletin depends upon the interest and cooperation of its readers for information. News, contributions, ideas and concerns for the 2015 Bulletin should be sent to the editor:

Melody Rod-ariAssistant Curator

Asian ArtNorton Simon Museum

[email protected]

Table of Contents

6 A C S A A 7 4 S U M M E R 2 0 1 46

Membership News

Membership

Need to check the status of your membership, join, or renew your membership to ACSAA? Please visit www.acsaa.us

Membership renewals are now processed online. Under this new system, membership will be renewed on a yearly rolling basis from the date your payment is received.

1. Go to the ACSAA website address: www.acsaa.us

2. If you have ever been an ACSAA member in the past, we may have your information already stored. To renew, you rst need to log in to the site with the following combination of username and password:

username: the rst six alpha-numeric characters in your e-mail address. This may be an old e-mail address that we have on le.

The default password: acsaa

3. Once you have logged in you can change your password. If you need to renew, a message will appear with a button directing you through the renewal process. However, if you prefer to renew your membership by check, a renewal form is available online. You can print out the form and mail it with your check to: Catherine Becker, ACSAA Secretary, Department of Art History (M/C 201), University of Illinois at Chicago, 935 W. Harrison St. Chicago, IL 60607 USA

Once your check is received we will update your status online and you will be able to log on to the members section of the site.

Membership

$40 Regular$15 Student and Unemployed$50 Institutions$60 Contributing Member$100 Sustaining Member

Yearly dues payable online or by mail. Please add $5 for overseas airmail postage. All payments must be made in US funds; ACSAA can accept either International Money Orders or checks drawn on US banks. Change of address notices should also be sent to the Secretary and should include both the old and the new addresses.

Membership Benefi ts: ACSAA Listserv

In addition to a subscription to the annual Bulletin, inclusion in the membership directory and access to archived material via the web-site, members may join the ACSAA Listserv discussion forum. To subscribe or unsubscribe, simply go to www.acsaa.us

Please address any questions to Cathleen Cummings:

[email protected]

New Members

Contributing Members

Sustaining Members

Seher Agarwala

Basia Banasik

Mya Chau

Sonali Dhingra

Caroline Duke

Neil Ghosh

Charlotte Gorant

Regan Huff

Rattanmol Johal

Mekala Krishnan

Lee Lawrence

Nancy Lin

Sarah Loudon (Seattle Asian Art Museum)

Brigitte Majlis

Annu Matthew

Arathi Menon

Shellie Meeks

Shalika Mishra

Alyssa Pheobus Mumtaz

Sonya Quintanilla

Amanda Rath

Akira Shimada

Gregory Shonk

Caron Smith

Don Stadtner

Shivani Sud

Janet Um

Ahmed Wahby

Saleema Waraich

Lori Way

Susan Bean

Charles Collins

National Gallery of Art Australia

Lisa Owen

Caron Smith

Laura Weinstein

Joanna Williams

Catherine Asher

Rick Asher

Milo Beach

Richard Davis

Deepali Dewan

Padma Kaimal

Stephen Markel

Forrest McGill

David Nalin

Ed Rothfarb

Kay Talwar

Akiko Yagi

7A C S A A 7 4 S U M M E R 2 0 1 4 7

From the ACSAA President

It has been an honor and a privilege to serve as ACSAAs President for the past three years. I am pleased to have been able to accomplish all the goals I set at the beginning of my term, none of which would have been possible without the enthusiastic participation of the ACSAA Board and membership. ACSAA continued its core responsibilities of presenting cutting-edge biennial symposia (Minneapolis, 2011, and Los Angeles, 2013) and organizing outstanding panels and papers for presentation at CAA and AAS conferences (please join me in thanking Deepali Dewan for adroitly managing CAA and AAS interactions). The ACSAA website was also signi cantly upgraded by webmaster Cathleen Cummings and the Board to better serve the organizations needs by strengthening our digital identity and becoming a more sophisticated vehicle for sharing our members and the elds ideas, activities, and accomplishments.

In addition to furthering these institutional endeavors, I concentrated my own efforts on spearheading a long-term, democratically determined plan of action for ACSAAs future undertakings, and on enhancing ACSAAs organizational structure. Accordingly, a members survey was conducted, planning committees on publications, travel grants, symposia, and development were commissioned, their reports were presented and approved at the business meeting in Los Angeles, and the proposals were adopted virtually unanimously in the recent general election.

Special mention must also be made of the Collaboration Agreement that I negotiated between The University of Michigan History of Art Visual Resources Collections, the Center for Art and Archaeology of the American Institute of Indian Studies, and ACSAA. The agreement authorizes the ACSAA Digital Images (scanned from the former ACSAA Color Slide Project previously distributed by The University of Michigan) to be displayed on the website of the Center for Art and Archaeology and to be made available for free direct downloading of low-resolution images for noncommercial, educational and research purposes. An of cial announcement of the Collaboration Agreement will be posted on the ACSAA listserv later this summer when the images are expected to go online. Former photographers of the Color Slide Project are requested to contact me directly to grant their reproduction permission and/or ask for further details. I am grateful to Susan Huntington, in particular, for gen-erously sharing her extensive expertise on image archive matters.

Another important ACSAA collaboration, albeit just beginning, is an oral history project to document the founding and formative years of ACSAA. Interviews will be conducted with pertinent individuals to learn the thinking behind the creation of ACSAA and their re ections on its development and possibilities ahead. Please contact Laura Weinstein for further information.

I would like to thank the ACSAA Board for their strong backing of the initiatives developed for planning the fu-ture of ACSAA, and look forward to seeing the implementation and improvements of these plans in the years to come. Deepali Dewan is a great Vice President, and I am con dent that she will be a superb President. I urge you all to support her and to get involved in making a better ACSAA.

Stephen Markel ACSAA President [email protected]

8 A C S A A 7 4 S U M M E R 2 0 1 48

ACSAA Member News

Catherine Becker continues as Assistant Professor of Art His-tory at the University of Illinois at Chicago. Her book, Shifting Stones, Shaping the Past: Sculpture from the

Buddhist Stupas of Andhra Pradesh, will be published by Oxford University Press on October 1, 2014. She had the pleasure of presenting her paper, There is no I in Stupa: Building Community at Buddhist Sites in Andhra Pradesh, for a panel organized by Sonal Khullar at the 2014 annual conference of the Association for Asian Studies. Catherine has received a research fellowship from the American In-stitute of Sri Lankan Studies for her new project, Miracle-performing Monks and Relocated Relics: Artistic Exchange between Buddhist Communities in Andhra Pradesh and Sri Lanka. She plans to spend the summer of 2015 in Sri Lanka.

Rebecca M. Brown has been promoted to Associate Professor with tenure in the History of Art department at Johns Hop-kins University and is also currently serving as the Chair of JHUs Masters program in Museum Studies. With Deborah Hutton of The College of New Jersey, she co-organized a symposium in honor of Catherine and Frederick Asher, held in conjunction with the College Art Association Meeting in Chicago on February 15, 2014. She participated in an Asia Art Archive-sponsored seminar at the Clark Art Institute, led a workshop on South Asia in the curriculum at Winston-Salem State University, and gave several papers at various venues on her current research project focused on several 1985-86 Festival of India exhibitions.

Bob Del Bonta joined the international editorial board of Stud-ies in Asian Art and Culture (SAAC), which will be com-ing out with a series of publications on art centered at the Universitt Bonn. He has also given a number of lectures on the topic of Jaina narrative painting at the Munk School of Global Affairs, University of Toronto, and the Birmingham Museum of Art, Birmingham, Alabama. In conjuction with the exhibition Yoga: The Art of Transformation, Bob gave lectures and talks on the topic of European encounters with yogis at the FreerSackler Galleries, the Asian Art Museum in San Francisco, and Mills College in Oakland. He is cur-rently working on an introductory essay on Jaina paint-ing and sculpture for the web site Jainpedia. http://www.jainpedia.org/

Pika Ghosh co-organized the symposium Chakshudana (Open-ing the Eyes): Conversations on South Asian Art Celebrat-ing Michael W. Meister, at the University of Pennsylvania, Sponsored by the Departments of History of Art, South Asia Studies, Center for the Advanced Study of South Asia, and South Asia Center, April 18-19, 2014.

Alexandra Green will open the exhibition Pilgrims, healers, and wizards: Buddhism and religious practices in Burma and Thailand at the British Museum from October 2, 2014 to January 11, 2015

Adam Hardy is working on a project funded by World Monu-ments Fund to work out the original designs (9th- to 11th- centuries) of the ruined temples at Ashapuri, Madhya Pradesh, and to develop a conservation strategy. http://www.prasada.org.uk/temples-in-ashapuri/index.

Deborah Hutton along with Rebecca Brown, organized The Bodhi Tree and the Orchid: A Symposium in Honor of Catherine B. Asher and Frederick M. Asher, held in Febru-ary at the University of Chicago. The day-long symposium and dinner were a great success and much fun. Deborah would like to sincerely thank everyone who participated and attended. She and Rebecca currently are working on putting a volume together of the papers, more information on which can be found here: http://ashers2014.wordpress.com/ab-stracts/. Deborah also curated the exhibition, Art Amongst War: Visual Culture in Afghanistan, 1979-2014, which was on view at The College of New Jersey Art Gallery in the spring. She organized a lecture series to accompany the exhibit, both of which were supported by a major grant from the New Jersey Council for the Humanities. A pdf of the exhibition catalogue is downloadable here: https://tcnj.aca-demia.edu/DeborahHutton . Deborah will be presenting the paper, Afghanistans Recent Visual Culture in Context, at the 43rd Annual Conference on South Asia at the University of Wisconsin in October.

9A C S A A 7 4 S U M M E R 2 0 1 4 9

ACSAA Member News

Kimberly Masteller curated the following exhibitions at The Nelson-Atkins Museum of Art, Kansas City, Missouri in 2013-14: Echoes: Islamic Art and Contemporary Artists, and its related installation Illuminations: Ahmed Mater, August 31, 2013April 27, 2014 and Revealing a Hidden Treasure: A Jain Shrine from India, June 20, 2014 through May 31, 2015. Masteller also served as the in-house co-curator for Roads of Arabia: Archaeology and History of the Kingdom of Saudi Arabia, April 25 July 6, 2014. This spring, Masteller organized and chaired the Transla-tions symposium, March 7-8, 2014, at the Nelson-Atkins Museum of Art, in association with the Echoes exhibition. Masteller also co-presented the paper Journeys and Echoes: Engaging Audiences with Traditional and Contemporary Asian Art with Colin MacKenzie at the American Cura-tors of Asian Art conference on May 19, 2014 and served as a panelist discussing the newly revised Advance Placement Art History course at the College Art Association confer-ence on February 15, 2014.

George Michell will give the annual Benjamin Zucker lecture at the Victoria and Albert Museum on November 6 on Huma-yuns tomb in Delhi: Supremacy and synthesis in the rst great Mughal monument.

Kathryn Myers Professor of Art at the University of Connecti-cut, curated the exhibition Convergence: Contemporary Art From India and the Diaspora at the William Benton Museum of Art, The University of Connecticut, from Octo-ber 24-December 15, 2013. The exhibition showcased the work of fteen artists who are part of the Bentons perma-nent collection and celebrated a decade of collecting South Asian art. The catalog, with a forward by Susan Bean, can be downloaded at http://www.thebenton.org/

Lisa N. Owen is currently on development leave and enjoy-ing working on her second book project Rocks, Caves, and Divinity: Creating Places of Worship in Medieval Southern

India. She presented some of her research on this project last summer at a workshop-cum-conference at the cole franaise dExtrme-Orient in Pondicherry. Last April, she delivered the annual Religions of India Lecture at UC Davis.

Sonal Khullars rst book, Worldly Affi liations: Artistic Prac-tice, National Identity, and Modernism in India, 1930-1990, is scheduled to appear in spring 2015 from the University of California Press. The book received a Millard Meiss Publi-cation Fund Award and Meiss/Mellon Authors Book Award of the College Art Association. Khullar was awarded an ACLS Charles A. Ryskamp Research Fellowship for a new book project, The Art of Dislocation: Confl ict and Collabo-ration in Contemporary Art from South Asia. In 2013-14 she presented research on this project in Los Angeles, Portland, and Colombo, Sri Lanka, and chaired a session on collabo-ration at the Association for Asian Studies meeting. Khullar has been appointed series editor (South Asia) for Brills Modern Asian Art and Visual Culture series. She encour-ages ACSAA members to submit book proposals for mono-graphs and edited volumes to this exciting new series with a focus on interdisciplinary and comparative approaches to Asian art and visual culture since 1850.

Risha Lee curated the exbibition Imperial Nature: Flora, Fauna, and Colonialism in India, which focused on Lady Impeys paintings at the Minneapolis Institute of Arts which ran from Jan 18-April 20.

Stephen Markel after nineteen years as the Head of LACMAs Department of South and Southeast Asian Art, he has decided now to concentrate on research and publishing the museums permanent collection. Accordingly, he has tran-sitioned at his own request to the newly created position of Senior Research Curator. Marks rst major project will be writing the online catalogue of the museums renowned later South Asian Decorative Art collection. The position of De-partment Head of South and Southeast Asian Art is expected to remain vacant for some time.

1 0 A C S A A 7 4 S U M M E R 2 0 1 41 0

ACSAA Member News

Neeraja Poddar is the Andrew W. MellonAnne dHarnoncourt Postdoctoral Fellow in South Asian Art Philadelphia Museum of Art.

Melody Rod-ari opened an exhibition of Himalayan Buddhist material at the Norton Simon Museum entitled In the Land of Snow, which is on view from March 28-August 25. She is currently organizing an exhibition of prints by the mod-ernist artist Ruth Asawa. In addition to curating, Melody taught a year- long seminar on the ethics of owning art at Occidental College, and participated in a CAA sponsored roundtable on fairuse and copyright laws at the Law School of the University of Southern California.

Stephanie Rozman is the Norma Jean Calderwood Curatorial Fellow at the Harvard Art Museums.

Tamara I. Sears gave a number of invited lectures and confer-ence presentations, which included a paper on Jaina temples in medieval central India in honor of Michael W. Meister at University of Pennsylvania as well as giving papers on the topic of yoga and the ascetic body at the American Academy of Religion, held in Baltimore, the Freer-Sackler Museum, and the Fralin Museum at the University of Vir-ginia. She presented papers at the Sorabjee/Saivetz sympo-sium, Brandeis University, on Wandering the Wilderness Between Temple and Town: Architecture and Landscape in Medieval Madhya Pradesh, as well as Considering Kadwh as Palimpsest: Continuities, Discontinuities, and Layers In-Between, at a symposium on The Monument as Palimpsest, Wesleyan University.

Walter Spink would like announce that Brill has published Vol 6 of his Ajanta study, with lots of pictures; Vol 7 also, with lots of pictures will be out by Fall 2014. Both include a study of Bagh, which is a sister site to Ajanta--essentially totally contemporary. Since Maharaja Subandha (dated to 486 via his Barwani inscription) claims to have not only supported the still- ourishing monastery at Bagh (see his Bagh plate) but to have allocated funds for repairing the rent and broken portions of the caves, we can be sure that the Bagh caves were excavated and extensively used some years or decades earlier than 486. Therefore that must be true for Ajanta too--that is, its excavation (and also its aban-donment) must date well before 486 too, con rming what is called the Short Chronology (c. 462 - c 478).

Doris Meth Srinivasan was invited to participate in the Workshop on Mathura in Berlin, supported by Indo-German institutions, where she gave a paper entitled Mathuras Personality vs. Development of Hindu Narrative Art.

1 1A C S A A 7 4 S U M M E R 2 0 1 4 1 1

ACSAA Member Publications

Becker, Catherine. Shifting Stones, Shaping the Past: Sculpture from the Buddhist Stupas of Andhra Pradesh. Oxford Uni-versity Press, October 2014.

Brown, Rebecca M. Colonial Polyrhythm: Imaging Action in the Early Nineteenth Century. Visual Anthropology 26.4 (2013): 269-97.

Buhnemann, Gudrun. Bhairava and the Eight Charnel Grounds: On the History of a Monumental Painting at the Jayavagisvari Temple, Kathmandu. Berliner Indologische Studien 21 (2013): 307-326.

_____. A dharani for each day of the week: The saptavara tradition of the Newar Buddhists. Bulletin of the School of Oriental and African Studies vol. 77, no.1 (2014): 119-136.

Chanchani, Nachiket. The Jageshwar Valley: Where Death is Conquered. Archives of Asian Art 63.2 (2013).

_____. From Asoda to Almora, the Roads Less Taken: Maru-Gurjara Architecture in the Central Himalayas. Arts Asi-atiques 69, forthcoming.

Cort, John E. Today I Play Hol in My City: Digambar Jain

Hol Songs from Jaipur. International Journal of Jaina

Studies (online), 9:7 (2013): 1-50.

_____. God Outside and God Inside: North Indian Digambar

Jain Performance of Bhakti. In Bhakti Beyond the Forest:

Current Research on Early Modern Literatures in North

India, 2003-2009, ed. Imre Bangha. New Delhi: Manohar,

2013, 255-86.

_____. External Eyes on Jain Temple Icons. Material &

Visual Cultures of Religion, Nov. 2013. http://mavcor.yale.

edu/conversations/obhect-narratives/external-eyes-jain-

temple-icons.

_____. Review The Making of a Modern Indian Artist-Crafts-

man: Devi Prasad, by Naman P. Ahuja. Journal of the

American Oriental Society 134 (2014): 148-50.

Del Bonta, Bob. Paintings from the Courts of India & Persia.

Art Passages, 2014. On-line at: http://www.artpassages.

com/exhibitions/exhibition01.php

_____. Catalogue entries on Jaina material. In Realms of Won-

der: Jain, Hindu and Islamic Art of India, eds. James Ben-

nett and Adelaide. Art Gallery of South Australia, 2013, pp.

16-7, 24-29, and 48-55.

_____. Indian paintings in early modern Europe: Rma, a case

study, requested by: Chhatrapati Shivaji Maharaj Vastu

Sangrahalaya, Bombay, in press.

Ghosh, Pika. If Remembering Hari Enriches Your Heart:

Visual Imagery and Devotional Experience In Bengali

Vaishnava Temples. Journal of Vaishnava Studies 22.1

(Fall 2013): 227-251.

_____. Dance, Trance, and Transformation: The Art of Move-

ment in Gaudiya Temples. Journal of Vaishnava Studies

21.2 (Spring 2013): 83-106.

Hardy, Adam. Theory and Practice of Temple Architecture in

Medieval India: the Samargaastradhra and the Bho-

jpur Line Drawings (Translations from Sanskrit by Mattia

Salvini). New Delhi: Indira Gandhi National Centre for the

Arts, with Dev Publications, 2014. http://www.prasada.org.

uk/theory-and-practice.

Hutton, Deborah. Finally, her article (co-authored with Rebecca

Tucker), The Worldly Artist in the 17th century: Cornelis

Claesz. Heda and his Travels from Haarlem to Bijapur, will

be published in the fall issue of Art History.

Kaimal, Padma. Lakm and the Tigers: A Goddess in the

Shadows. In The Archaeology of Bhakti: Mathur and

Maturai, Back and Forth, eds. Charlotte Schmid and Em-

manuel Francis. Pondichry: Ecole franaise dExtrme-

Orient/Institut franais de Pondichry, 2014, 142-176.

Kirkpatrick, Joanna. Krishnas Peaceable Kingdom: Note on

an Unusual Figure in a Dasavatara Indian Miniature Paint-

ing, ca.1730. Journal of Vaishnava Studies, 2013.

Maki, Ariana. Co-author and editor. Artful Contemplation:

Collections from the National Museum of Bhutan. National

Museum of Bhutan: Thimphu, 2014.

1 1

1 2 A C S A A 7 4 S U M M E R 2 0 1 41 2

Owen, Lisa N. Relationships between Art, Architecture, and Devotional Practices at Ellora. In Living Rock: Buddhist, Hindu, and Jain Cave Temples in the Western Deccan, ed. Pia Brancaccio. Mumbai: Marg Publications, 2013, 126-137.

Rod-ari, Melody.Asian American Artists. In Encyclopedia of Asian American Culture, ed. Lan Dong. ABC-CLIO, forthcoming.

_____. Connecting People, Collecting Histories: The Paci c Rim and South and Southeast Asian art Collections in Los Angeles Museums. Journal of the History Of Collections, ed. Sonya Lee. Oxford University Press, forthcoming.

Sears, Tamara I. Worldly Gurus and Spiritual Kings: Archi-

tecture and Asceticism in Medieval India. New Haven, CT: Yale University Press, 2014.

_____. Encountering Ascetics On and Beyond the Indian Temple Wall. In History and Material Culture in Asian Religions, eds. Benjamin Fleming and Richard Mann. Rout-ledge, 2014, 172-194.

_____. Conference Precis. Asia and the Middle East, the Soci-ety of Architectural Historians Annual Conference, Buffalo, NY, April 10-14, 2013. International Journal of Islamic Architecture 3, no. 1 (2014): 230-233.

_____. Drain-spout in the Form of a Flying Celestial Figure, Object Narrative, in Conversations: An Online Journal of

the Initiative for the Study of Material and Visual Cultures

of Religion, 2014. http://mavcor.yale.edu/conversations/object-narratives/drain-spout-form-...

_____. Portraying the Guru. In Yoga: The Art of Transforma-tion, ed. Debra Diamond. Random House, 2014, 114-117.

_____. Mapping Omkareshvaras Early Medieval Past: Fol-lowing Sculptural Fragments along the Parikrama Path. In Patrimoine Culturel de LEau: Cities and Settlements, Temples and Tanks in Central India, ed. Michael Willis, Doria Tichit, and O.P. Mishra. Bhopal : Directorate of Ar-chaeology, Archives & Museums, Govt. of Madhya Pradesh, 2014), forthcoming.

_____. In the Gaze of the Guru: Shikshadana Scenes at Kha-juraho. In Art, Architecture and Iconography in South Asia: A Felicitation Volume in Honour of Dr. Devangana Desai, ed. Anila Verghese and Anna L. Dallapiccola. Delhi: Aryan Books International), forthcoming.

Seyller, John and Mittal, Jagdish. Pahari Paintings in the Jag-dish and Kamla Mittal Museum of Indian Art. Hyderabad, 2014.

_____, Goswamy, B.N., Losty, Jeremiah Losty. A Secret Gar den: Indian Paintings from the Porret Collection. Zurich: Museum Rietberg, 2014.

Vajracharya, Gautama V. Frog Hymns and Rain Babies: Mon-

soon Culture and the Art of Ancient South Asia. Mumbai: Marg Foundation, 2013.

Woodward, Hiram. What There Was Before Siam: Traditional Views. In Before Siam: Essays in Art and Archaeology, eds. Nicolas Revire and Stephen A. Murphy. Bangkok: River Books and The Siam Society, 2014, 1729.

_____. Stylistic Trends in Mainland Southeast Asia, 600800. In Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, ed. John Guy. New York: The Metropolitan Museum of Art, 2014, 12229.

A C S A A 7 4 S U M M E R 2 0 1 4 1 3

In Memoriam

A Tribute to our

Recently Departed

Peter Hardy (1923-2014)

Dr. Peter Hardy, Reader in the History of Islam in South Asia, and a lecturer in the SOAS History Department from 1947 to 1983, died, aged 91. He was a specialist in the Sultanate period of South Asian history, with a particular interest in Indo-Persian historiography, notably, Historians of Medieval India (London, 1960, repub-lished New Delhi, 1997), but a later work, The Muslims of British India (Cambridge, 1972), was widely used on courses concerning the colonial period.

John Rosenfi eld III (1924-2013)

I still recall Johns nearly boyish enthusiasm for three newly uncovered, inscribed Jain images from near Vidi-sha which pointed a link between late Kushan and Gupta (the now well-known Ramagupta images). This was our rst meeting, in the cold season of 1968, in his house in Delhi that he and Ella were sharing, a year follow-ing the publication of his The Dynastic Art of the Kushans. He held the photos out, waiting for me to add something. An embarrassing silence lled the room. Per-ceiving that I was a newcomer to Indian art, he then gently explained the signi cance of these discoveries, in a Socratic way, asking me questions and encouraging me to formulate my own views. My ignorance at the time was not dismissed; rather, it prompted his kind attention. These three stone panels suddenly came to life, allow-ing me to appreciate the discovery and how it helped to close a gap in our understanding of early Gupta sculp-ture. Such enthusiasm for knowledge and his patience as a teacher in the best sense of the word are quali-ties that John shared with everyone. We met on and off in the subsequent decades. And I was always struck by his intense enthusiasm for the beautiful complexity of culture. And always shining through was the same sparkle in his eyes that I had seen in Delhi when he awakened me to the pleasure of appreciating three lifeless stones recently dug out of the ground. This was a moment we shared in 1968, when I was an under-graduate, but it has stuck with me, reminding me of John and always serving as an inspiration.

Donald M. Stadtner

A C S A A 7 4 S U M M E R 2 0 1 41 4

In Memoriam

A Tribute to our

Recently Departed My recollections of John Rosen eld are vivid and convey my sense of loss upon learning of his death. We shared the same vibrations as we passed through the life of our careers hopefully to our mutual pro t but cer-tainly to mine. His book on Chosens wooden portraiture is beside me as I write these words. He was a consistently energetic force in our eld from the time we were in graduate school together. Our view of the Far East was nurtured in the musty yet friendly basement environment of Harvards Rubell Library, where the books on Asian art were kept, under the guiding hand of Benjamin Rowland. John had an extraordinary sense of personal relations. We will never forget how closely related he was to this personal approach. He was not just a professional. He was a great man because he was a warm hearted person and one whom you could always meet on a personal level, a quality seldom found in those too wrapped up in their professional duties and accomplishments. It goes without saying we shared an interest in the world of art but in addition his memory is warmly related to activities of our whole family. Along with his intellectual skill this made him a great man to us. We lived in the same rented house serially. We lived at Teramachi Imadegawa-angaru Junenji-mai in Kyoto (not far from the Imperial Palace grounds) in 1958-59. Later the Rosen elds lived there in 1964 and we took up occu-pancy there again in the summer of 1964 after their departure. He reached out to my children and family who remember how welcoming he and Ella were when we stopped over in Los Angeles and stayed with the Rosen elds on our way to the Far East. He was especially helpful to my daughter, Joan, a college sophomore at the time (1968/69) who was apartment hunting in Boston having found a summer job there. She did not meet with immediate success and as John drove her to various locations he reassured her that the Perfect Pumpkin is somewhere instilling hope that the ideal apartment was just around the corner. If one is willing to share family matters with a friend it is a clear indication of resilience in dealing with the inevitable problems of living. His kindness to our family was an emanation of warmth from his own with Ella, Sarah and Paul Thomas. My lateness in expressing my thoughts in no way diminishes the shock and bereavement felt at having to relinquish such a constant friend and insightful scholar so superior in humanity. Would that he were still work-ing among us. Richard Edwards

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Pascal Royre (1965-2014)Pascal Royre, director of studies of the cole franaise dExtrme-Orient (EFEO) and restorer of the 11th cen-tury Baphuon temple, died on 5 February 2014 aged 48. When Royre faced the gigantic puzzle of 300,000 blocks of sandstone from the Baphuon, scattered over 10 hectares of forest land adjacent to the walled Royal Palace of Angkor Thom, he had his work cut out for him. Sixteen years later, the seemingly impossible task was accomplished, and on 3 July, 2011, the restored Baphuon, one of the most impressive monuments of Angkor, was opened to the public in the presence of the King of Cambodia Norodom Sihamoni and then French Prime Minister Franois Fillon. Given the size and complexity of the project, the Baphuon restoration has been hailed as one of the most spectacular undertaking in the eld of monument conservation in the past twenty years. Trained as an architect, Royre became a junior research fellow at EFEO in 1993. In 2002, after com-pleting his PhD in art history at the University of Paris with a thesis on the architectural history of the Baphuon, he was appointed lecturer in the Architecture of Cambodia at the EFEO. In addition to his exceptional scholarly, linguistic and technical accomplishments, Royre was a gifted project manager and leader of men, as well as a charismatic public communicator. He was repeatedly decorated by both the French and Royal Cambodian gov-ernments. In 2007, he received the prestigious Grand Prix of the Prince de Polignac Foundation, and in 2011, he was a co-winner of the Grand Prix dArchologie of the Simone and Cino del Duca Foundation awarded to the EFEO Centre in Siem Reap. In 2012, Royre received the Medal of Archaeology of the French Academy of Architecture. Appointed EFEO director of studies in 2011, Royre was entrusted that year with a new large-scale restoration project: the Western Mebon temple situated on an arti cial island in the Western Baray reservoir of Angkor and dating to the same period as the Baphuon. The Mebon restoration was jointly launched by EFEO and the Cambodian national authority APSARA in 2012, under Royres energetic leadership and with funds provided by the French and Cambodian governments, notably the French Foreign Ministry. In the summer of 2013 cancer struck Royre, in the fullness of life and at the height of his profession. As Pascal was well aware, the massive monuments of Khmer civilization that he so painstakingly restored were often brought down by minute, windborne seeds. Germinating and sinking their roots into small gaps between the stones, these seeds grew into the gigantic trees that would red the imagination of 19th-century European travelers. Eventually dislodging the stonework and destabilizing the temples, the invasive vegetation of Angkor gave rise to romantic musings about the perpetual battle between art and nature. Pascal Royre leaves behind his wife and young daughter, his parents and his grandmother. EFEO has lost one of its most emblematic gures, as well as an esteemed colleague and friend.

Franciscus Verellen

Originally published by Orientations Magazine in April 2014.

In Memoriam

A Tribute to our

Recently Departed

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About Teaching...JHU and the Walters Art Museum

Encouraging students to encounter objects in per-son has long anchored the pedagogical practice of art historywe send them off to the museum or we organize group visits to storage, and we construct assignments that enable them to think with the ob-jects in front of them rather than solely with scholarly and primary texts. In the fall semester of 2013, Rob Mintz, the curator of Asian art at the Walters Art Mu-seum in Baltimore, and I collaborated on an upper-level undergraduate seminar that challenged students to think not only about individual objects but also about a collection and its reinstallation. Johns Hop-kins program in Museums and Society had received a major grant from the Andrew W. Mellon Foundation to support innovative teaching in the museum, en-abling and encouraging our entire pedagogical experi-ment from beginning to end. Spurred by the need to renovate Hackerman House, the historic home that houses much of the Asian art collection at the Wal-ters, Mintz had already taught a Mellon-supported seminar the previous fall focusing on the East Asian collections; our jointly taught course served as its South and Southeast Asian counterpart. The course culminated in the students presenting their visions of a reinstallation of a portion of the collection. In order to facilitate this, the Mellon grant funded a Johns Hopkins computer science student intern to create Google Sketchup templates that provided three-dimensional images of portions of the Walters gal-lery space. Students chose 1015 objects to display in these virtual spaces and then worked with us and their colleagues to think through how to present objects, ideas, histories, and art histories to a public largely unfamiliar with Asian art of any era or region. Along the way to this nal project, students were asked to write analyses of the existing South and Southeast Asia galleries, examine other permanent installations, and discuss key texts in museum practice, collecting history, and Asian art history. We had four engaged and active students, with a range of experience in art history, in museums, and

in topics related to Asia. In addition to the normal range of activities related to an undergraduate semi-narseveral weeks of theoretical and methodological readingswe spent a great deal of the seminar time in the galleries and in storage, examining objects, discussing display choices, label information, and installation design. Some of the seminars discussion sprang from a summer-long projectagain funded by the Museums & Society Mellon Foundation grantto gather together a range of images of permanent instal-lations of South and Southeast Asian collections from around the world, as widely as we could. Many AC-SAA members helped us to collect this information, providing images of both current installations and, on occasion, historical installations. We were able to collect images from museums as widely dispersed as Australia, Myanmar, Switzerland, and of course across North America. During the semester, we used these to anchor one major writing assignment for the students and we turned to them often in seminar in order to unpack the wide range of paths museums pursued in displaying their collections. We also used the images to discuss how the collection itself shapes the choices a curator and museum staff can make in any installation. (While we cannot make these im-ages freely available due to copyright restrictions, we are happy to work with colleagues who would like to access these installation photographs for research or teaching purposes; please contact me at [email protected].) In the end, the students presented exhibitions that staged encounters between objects and paintings, a focus show that drew together formal connections related to disembodied heads and decapitated bodies, a broad engagement with the history of courtly art in South Asia, and a multi-layered exhibition that drew viewers in via the thematic of love and left them with an engagement with religion. The students had ex-posure on a formal and informal level to what makes a museum tick and how curatorial choices are made and constrained by the particular relations of power at

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at work in any given institution, city, and collection. We were incredibly lucky to have the John and Berthe Ford Collection, the Alexander B. Griswold Collec-tion, and the Southeast Asian collection of the Doris Duke Charitable Foundation at the Walters for stu-dents to work with. The support and energies of the Museums and Society program made the course pos-sible both with funding from the Mellon Foundation and with the active and engaged encouragement of the programs director, Elizabeth Rodini. The support from Hopkins, the Walters, and the Mellon Founda-tion enabled our pedagogical experimentation and we hope will spur more of these kinds of collaborations, allowing students to delve deeper into the museum world and to think with objects and collections, per-haps even providing curators with ideas for the future installations of Asian art.

The Museums and Society program is a cross-disciplinary undergraduate program under the direction of Elizabeth Rodini: http://krieger.jhu.edu/museums/. For more information on the renovation of Hackerman House, see: http://articles.thewalters.org/were-on-the-move/.

Rebecca Brown

...

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About Curating...ACAA Forum 2014

The American Curators of Asian Art (ACAA) Fo-rum was established in 2009 by the curators of the FreerSackler Galleries. This year the Forum was held at the Los Angeles County Museum of Art (LACMA) in Los Angeles, CA from May 19-20th. The event was hosted by the curators of the Chinese and Korean, South and Southeast Asian, and Japa-nese art departments at the museum. The Forum was organized around three panels as well as Pecha Kucha sessions peppered throughout, which allowed partici-pants to share their existing and upcoming projects. The rst panel, Past & Present, Present and Past: Challenges of Presenting Contemporary Asian Art in Juxtaposition with Traditional Asian Art, was moderated by Bindu Gude (LACMA). A reoccurring topic of interest at the Forum, this years discussion was led by Colin Mackenzie (Nelson-Atkins), Kim-berly Masteller (Nelson-Atkins), Christine Starkman (MFA, Houston) and Madhu Ghose (Art Institute of Chicago). Presenters described the challenges they faced from their museum administrators, among other curatorial departments at their institutions, and by artists who did not wish to be exhibited exclusively in the Asian galleries. Most of the curators stated that there was little collaboration among their departments and their contemporary art colleagues. However, in the case of the Art Institute of Chicago the artist, Nili-ma Sheikh, did not want her work to be shown in the Asian galleries. The curator was able to secure gal-lery space typically used to exhibit contemporary art, which satis ed the artist. However, all of the funding and logistical work of putting on the exhibition was not shared between departments, which was entirely funded by the Indian and Southeast Asian department. At the Nelson-Atkins, the curators spoke of the logis-tical challenges of presenting contemporary material alongside ancient works of art. By utilizing in gallery demonstrations as well as innovative displays, both curators found that visitors were much more engaged and spent more time in the galleries looking at art. The second panel, Art Museums and Col-lections as Venues for Training Connoisseurship, was moderated by Richard A. Pegg (MacLean Col-lection). The panel brought together curators whose institutions have secured Andrew W. Mellon Founda-tion funds to train students in museum settings. The presenters included Hiromi Kinoshita (Philadelphia Museum of Art) and Ellen Avril (Herbert F. John-son Museum of Art at Cornell University.) This past

academic year marks the inauguration of the program at both institutions. The goal of the program is to better train future art historians and museum curators. The courses offered took place at museums rather than in the classroom and allowed students to work intimately with the art, curators, conservators and other museum staff. Both curators were surprised by how few students signed up for the courses, which focused on both practical and theoretical training. The students who did enroll were said to be very happy with the courses. The hope is that continued offerings of the courses will increase enrollment numbers in future years. The third panel, The Fate of the Mono-graphic Exhibition, was moderated by Christina Yu Yu (LACMA). The panelists included Anita Chung (Cleveland Museum) and Stephen Little (LACMA). Chungs recent exhibition featured the works of Fu Baoshi (1904-1965) and Littles future exhibition is centered on the painter Qiu Ying (c. 1495-1552). The consensus among both curators was the dif culty of determining a title that would appeal to non-specialist audiences, as neither artist is a household name among western audiences. Many of the participants thought that the panel should be renamed the Future of the Monographic Exhibition as it was agreed that curators should be promoting Asian artists in America so that they are just as well-known as their western contemporaries. The committee had hoped to include a non-modern, non-contemporary South or Southeast Asian artist, but the lack of extensive material by a single artist within these parameters resulted in its exclusion. During the Forum, the ever popular Tales from the Crypt session allowed participants to exam-ine curious works of art from LACMAs vaults. Ob-jects included paintings from the Chinese and Korean departments as well as sculptures from the Japanese and South and Southeast Asian departments. In 2015, ACAA will be hosted by the curators of the Crow Collection in Dallas and the Kimbell Art Museum in Fort Worth, Texas. Dates of the confer-ence have yet to be determined.

Melody Rod-ari

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Association for Asian Studies March 27-30, 2014: Philadelphia

[Below are panels dedicated/related to South and Southeast Asian art. For the entire program please see http://www.asian-studies.org/Conference/index.htm]

Cambodian Ceramics, Settlement Patterns, and Environmental Adaptation - Sponsored by Center for Khmer StudiesSession Organizer: John Norman Miksic, National University of Singapore

Prehistoric Research in Somrong SenVanna Ly, Apsara Authority

Kiln Sites in the Angkor RegionRachna Chhay, Authority for the Protection and Management of Angkor and the Region of Siem Reap

The Mong Site and Cheung Ek KilnsKaseka Phon, Royal Academy of Cambodia

New Data on Phnom KulenDarith Ea, Apsara Authority

Collaboration As Creative Practice in South Asian ArtSession Organizer: Sonal Khullar, University of Washington

There Is No I in Stupa: Building Community at Buddhist Sites in Andhra PradeshCatherine M. Becker, University of Illinois at Chicago

Myths of Creation, Person, and Practice in Contemporary South Asian Temple ConstructionSamuel K. Parker, University of Washington, Tacoma

Cloths Painted with Dyes: The Intertwined Artisanship of Seventeenth-Century South Asian TextilesSylvia Houghteling, Yale University

Constitutive Collaboration in Mughal Painting PracticeYael Rice, Amherst College

Ideas of Asia in the MuseumSession Organizer: Sonya S. Lee, University of Southern California

A Thousand Graces: Charles L. Freer and Collecting Chinese Buddhist Art in Early Twentieth-Century AmericaDaisy Yiyou Wang, Peabody Essex Museum

Celebrating Japans National Spirit for Design and Craftsmanship: Early Acquisitions of Japanese Art at the Nelson-Atkins Museum of ArtPatricia J. Graham, University of Kansas

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Kucha Mural Fragments in the SmithsonianSonya S. Lee, University of Southern California

The Power of the Story: Notes on Collecting and Displaying Ancient Artifacts in Middle Eastern MuseumsAlexander Nagel, Smithsonian Institution

Key Issues in Asian Studies: A Teaching Resource - Sponsored by Committee for Teaching About Asia (CTA)Chair: Brenda G. Jordan, University of Pittsburgh

Korea in World HistoryDonald N. Clark, Trinity University

Global India circa 100 CE: South Asia in Early World HistoryRichard H. Davis, Bard College

Modern Chinese HistoryDavid Kenley, Elizabethtown College

Japanese Popular Culture and GlobalizationWilliam M. Tsutsui, Southern Methodist University

Mobilities of Craft Since 1900: Economics, Politics, AestheticsSession Organizer: Rebecca M. Brown, Johns Hopkins University

The Ideology of Craft and the Making of an Asian Modern AestheticAarti Kawlra, Nehru Memorial Museum and Library

The Japan Folk Crafts Museum in 1936: Marketing Crafts in the MuseumSeung Yeon Sang, Boston University

Crossroads of Vietnamese Craft, 1956-1961: Questions of BelongingJennifer Way, University of North Texas

The Return of Craft in the Age of Global Mass ProductionNellie Chu, University of California, Santa Cruz

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Production of Space and Emotions in South AsiaSession Organizer: Razak Khan, Freie Universitt Berlin

Mapping Emotions, Constructing Feelings: Delhi in the 1840sMargrit Pernau, Max-Planck-Institut

Qasbahs as Space: Belongingness and the Meaning of Place in Colonial IndiaMohammad Raisur Rahman, Wake Forest University

Nostalgic Pasts: Space, Emotions, and Histories of Princely RampurRazak Khan, Freie Universitt Berlin

Cultivating Felt Needs: The Aesthetics of Village Reform in 20th-Century IndiaWill Glover, University of Michigan

Mortuary Ritual and Material Culture in Southeast AsiaSession Organizer: Alison Kyra Carter (University of Wisconsin, Madison)

The Perfect Funeral of King-Father Norodom Sihanouk: Ritual Imagination in Contemporary Cambodian Spec-tacle, Erik W. Davis, Macalester College

Between the Living and the Dead: The Three-Tailed Funeral Banner of Northern ThailandRebecca S. Hall, Virginia Commonwealth University

A Preliminary Consideration of Dvaravati Mortuary RegimesWesley Clarke, Ohio University

Phnom Yong Mortuary Towers in Southwestern CambodiaEve Zucker, Independent Scholar

Photographic Encounters in Republican China and Colonial India: The Work of Zhuang Xueben Seen through a Transnational Lens, 1934-1945Session Organizer: Yajun Mo (Long Island University)

Journey to the West: Internal Orientalism, Nation-Building, and the Photographic Frontier in Republican China, Yajun Mo, Long Island University

Temples, Tribals and Sino-Indian Trade: Pan-Asian Nationalisms and the Everyday in Zhuang Xuebens Photo-graphs of India, Amy Holmes-Tagchungdarpa, University of Toronto Scarborough

Ethnicity, Autonomy, and Creolization: Zhuang Xuebens Images of the Tu (Monguor) as Counter-ArchiveGerald Roche, Uppsala University

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Refashioning Identities: The Politics of Dress in Early Modern Southeast AsiaChair: Pattaratorn Chirapravati, California State University, Sacramento

Modernising the Monarch: The Adoption and Adaptation of Victorian and Edwardian Fashion and Military Uniform in the Siamese Royal Court of King Chulalongkorn, Lupt Utama, Royal College of Art/The Victoria and Albert Museum

Royal Fashions: Re ections on Modernizing the Image of Siamese Women in the Late Nineteenth CenturyPattaratorn Chirapravati, California State University, Sacramento

A Hybrid Cosmopolitan: Princess Dara Rasami and the Politics of Dress and Ethnic Difference in the Siamese Palace, Leslie Ann Woodhouse, University of California, Berkeley

In Search of Identity: The Transformation of Shan Of cial Costume from the Late 19th to Mid 20th CenturiesThweep Rittinaphakorn, Independent Scholar

Rethinking Affect, Emotion, and Sentiment in Post-Reform VietnamChair: Merav Shohet, University of Toronto Scarborough

The Anxiety of Well-Being: Modernizing Affect in a Vietnamese Psychiatric UnitAllen L. Tran, Bucknell University

Staging Affect and Excess: Artistic Preoccupations in Ho Chi Minh City, VietnamPamela Nguyen Corey, Cornell University

Effecting a Good Death: Literacy, Ritual, and Affect in Nng, VietnamMerav Shohet, University of Toronto Scarborough

Shirdi Sai Baba: A Saint for All Seasons, for All Reasons in a Time of IndeterminacyChair: Angela Rudert, Ithaca College

If You Look to Me, I Look to You: Teachings on Photography in the Shri Sai SatcharitaWilliam Elison, Dartmouth College

Santa Baba or Christmas Chennai StyleJoanne Punzo Waghorne, Syracuse University

Love All, Serve All: Shirdi Sai Baba Devotion in the United StatesKarline McLain, Bucknell University

A Saint of Edges and In-Betweens: Haptic Visualities in Devotional Diasporas of Shirdi Sai BabaMary (Polly) Nooter Roberts, UCLA, Allen F. Roberts, UCLA


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Strangeness in China and IndiaSession Organizer: Pasha Mohamad Khan, McGill University

Encountering Otherness: Chinese Zhiguai and Writing the Transsexually StrangeWenjuan Xie. University of Alberta

Gul-i Bakawali: Recovering the History of a Romance in Colonial IndiaPasha Mohamad Khan, McGill University

Between Image and Relic: Painted Bodhi Tree Leaves in Eighteenth-Century ChinaMichele Matteini, Reed College

Spectacles of Strangeness: Melodrama, Mythmaking, and the Production of Modern Enchantments in Parsi Theatre, Sonal Acharya, University of California, Berkeley

Tyranny of the Greek?: Borders, Paradigms, and the Lands in BetweenSession Organizer: Vimalin Rujivacharakul, University of Delaware

The Origin of the Buddha Image and the Western ImaginationSusan L. Huntington, The Ohio State University

Japan in Asia and the World: ArtElizabeth Lillehoj, DePaul University

Along the Buddhas Steps, Should We Find Alexander the Great or Darius III?Vimalin Rujivacharakul, University of Delaware

Orientalist Endeavors in the Late Ottoman Empire and the Disassembling of Hellenist Paradigms in Architec-tural History, Peter Hewitt Christensen, Harvard University

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College Art AssociationFebruary 12-15, 2014: Chicago

[Below are panels dedicated to or inclduing South and Southeast Asian art. For the entire program please see http://conference.col-legeart.org/2014/downloads.php

ACSAA (sponsor)Artistic Practices in the long-eighteenth centuryChair: Yuthika Sharma, Goethe-Universitt

Copying Contexts: Picturing Places and Histories in Udaipur Court Painting and Picarts Atlas HistoriqueDipti Khera, New York University

Forging New Identities: The Role of the Artist in Eighteenth-Century Northern IndiaMalini Roy, The British Library, London

The Divine Surface: Thanjavur Painting, Seventeeth-Nineteenth CenturiesCaroline Duke, University of California, Berkeley

Maratha Art and Moors Hindu Pantheon (1810)Holly Shaffer, Yale University

The Medium, Before and After Modernishm, Part IChair: Roland Betancourt, Yale UniversityDiscussant: Charles Barber, Princeton University

Marble as Meta-Medium in Islamic ArchitectureFinbarr Barry Flood, Institute of Fine Arts, New York University

Unfolding LayersBeate Fricke, University of California, Berkeley

Is Illustration a Medium?Michael Lobel, Purchase College, State University of New York

Beyond the Divide of Art and New Media: Blueprint for a Media Re exive Theory of ArtSjoukje S. van der Meulen, University of Amsterdam

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College Art AssociationFebruary 12-15, 2014: Chicago

Contemporary Art and Radical Democracy in Asia Chairs: Bo Zheng, City University of Hong Kong; Sohl Lee, University of Rochester

Contemporary Art through the Collective/Polemic Interventions in Radical Art and Democracy in Asia: With Focus on IndonesiaThomas J. Berghuis, Guggenheim Museum

Polylectical Resistance: Contemporary Art and the Pursuit of Radical Democracy in Reform Period ChinaPaul Gladston, University of Nottingham

Performance, Belonging, and Radical Democracy in Samudra Kajal Saikias Disposable House Project(2012) in Guwahati, AssamMelissa Rose Heer, University of Minnesota

Failure, Trauma, and Radical Art in South KoreaYoung Min Moon, University of Massachusetts, Amherst

Early Modern Imperial Landscapes in Comparative Perspective Chair: Stephen Whiteman, Center for Advanced Study in the Visual Arts, National Gallery of Art

Jean-Baptiste Oudrys Tapestry Series, Chasses Royalesor LHistoire de Louis XV: Landscapes of Power, Pros-perity, and PeaceJulie A. Plax, University of Arizona

The Imperial Aesthetic in the Early Modern Rajput Pleasure GardenSusan Johnson-Roehr, University of Illinois at Urbana-Champaign

La Maison Rustique: Tracing Imperial Ambition and Landscape in Sixteenth-Century FranceKelly D. Cook, Cornell University

Hideyoshis Capitals: Mapping Power in Early Modern JapanAnton Schweizer, Institute of Fine Arts, New York University

A Garden Street in Isfahan: The Safavid Urban Landscape in Its Global ContextMohammad Gharipour, Morgan State University

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The Bodhi Tree and the Orchid at CAAFebruary 15, 2014: Chicago

Knowledge, Spectacle, Pedagogy Chair: Tamara Sears

Shangri La: The Archive-Museum and the Spatial Topologies of Islamic Art HistorySugata Ray

Placing the Spectator on the Scene of Conquest: Istanbuls Panorama 1453 History MuseumRadha Dalal

Absence of the Un-Exchangeable Monument: Cinema and National Identity in a Time of PartitionAditi Chandra

Useful and Dangerous: Photography and the Madras School of Art, 18501873Deepali Dewan

Shifting Objects, Geographies, Histories Chair: Risha Lee

From Dictatorship to Democracy: Cordobas Islamic Monuments in the Twentieth CenturyJennifer Roberson

Assertive Gifts: Art and Diplomacy in the Age of the OttomanSafavid Con ictSinem A. Casale

Mary on the Moon: Ivory Statuettes of the Virgin Mary from Goa and Sri LankaMarsha G. Olson

Temporal Transformations: Terracotta, Textile, TrashRebecca M. Brown

Materiality, Experience, & Collaboration Chair: D. Fairchild Ruggles

The Global, The Local, The Contemporary, The Collaborative: Ghari/Ghar Pe/At Home, Dharavi, Mumbai, 2012Atreyee Gupta

And in the Soup Kitchen Food Shall Be Cooked Twice Every Day: Gustatory Aspects of Ottoman Mosque ComplexesNina Ergin

Archiving Knowledge in Consecrated Earth: The Madrasa in the Marinid ChellaRiyaz Latif

Water in the Expanded Field: Art, Thought and Immersibility in the Yamuna River: 20052010Venugopal Maddipati

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The Bodhi Tree and the Orchid at CAAFebruary 15, 2014: Chicago

Patronage & Politics Chair: Molly Aitken

A Mandir for the Masses or Apparatus of Imperial Authority? The Amba Mata Temple in UdaipurJennifer Joffee

Architecture of Enlightenment: The Colonial Colleges and Universities of Northern IndiaHawon Ku

Form and Symbol: Mosque Architecture in Germany since 2000Alisa Eimen

A Thoroughly Modern Major: Photography, Identity, and Politics at the Court of HyderabadDeborah Hutton

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Museum Exhibitions Summer and Fall 2014

Arthur M. Sackler GalleryTHE TRAVELERS EYE: SCENES OF ASIANovember 22, 2014May 31, 2015The Travelers Eye: Scenes of Asia provides glimpses of travels across the Asian continent, from pilgrimages and research trips to expeditions for trade and tourism.

Asian Art MuseumENTER THE MANDALAMarch 14-October 26, 2014In this exhibition, 14th-century paintings align a gallery with the cardinal directions, transforming open space into an architectural mandalaa chance to experience the images in three dimensions, to dwell in the midst of the cosmic symbols and be transported to another world.

GORGEOUSJune 20-September 14, 2014Gorgeous presents 72 uniquely stunning artworks drawn from the collections of the Asian Art Museum and the San Francisco Museum of Modern Art. Spanning over 2,200 years and dozens of cultures, these artworks are organized in an attempt to shift the focus from historical and cultural contexts, emphasizing instead the unique ways each work announces itself or solicits a viewers attention.

Cleveland Museum of Art YOGA: THE ART OF TRANSFORMATION June 22-September 7, 2014The rst exhibition to present this leitmotif of Indian visual culture, it also examines the roles that yogis and yoginis played in Indian society over two thousand years. This is the last venue for the exhibition, which was organized by Deborah Diamond. Yoga was rst exhibited at the Arthur M. Sackler Gallery before traveling west to the Asian Art Museum.

Fralin Museum of Art at the University of Virginia REALMS OF EARTH AND SKY: INDIAN PAINTING FROM THE 15TH TO THE 19TH CENTURY August 22-December 14, 2014 The exhibition will explore various themes, including the stylistic relationship between Mughal and Rajput painting and the function of book illustration. Portraiture, religious and literary texts, and Ragamala paintings are particularly well represented in the The Fralin collection of Indian painting.

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LACMAPRINCELY TRADTIONS AND COURTLY PURSUITSAugust 10, 2013- October 12, 2014The exhibition explores a complex and fascinating visual history, and brings together rarely-seen artworks from LACMAs South and Southeast Asian, Costume and Textiles, and European Painting and Sculpture Depart-ments.

RITUAL OFFERINGS IN TIBETAN ARTSeptember 8, 2014 September 8, 2015This exhibition is dedicated to the late Ruth Hayward, the pioneer collector and principal donor of the Tibetan furniture now in LACMAs collection. The exhibition features evocative works of art created for use during esoteric ceremonies performed primarily to obtain mundane blessings, such as those to attain wealth or avert calamities, or to overcome negative spiritual forces hindering enlightenment.

METLOST KINGDOMS: HINDU-BUDDHIST SCULPTURE OF EARLY SOUTHEASTASIA, 5TH TO 8TH CENTURYApril 14July 27, 2014This is the rst international loan exhibition to explore the sculptural art produced in the earliest kingdoms of Southeast Asia. From the rst millennium onward, powerful kingdoms emerged in the region, embracing much of Indic culture to give political and religious expression to their identities.

MFA, Boston PURE SOULS: THE JAIN PATH TO PERFECTION August 9-Novemebr 30, 2014This exhibition presents a group of Jain paintings that have rarely been shown at the MFAearly illustrated manuscripts and newly restored cloth paintingsalongside embroidered book covers and select sculptures. Together, these objects illuminate the potent sacred world of the Jain religion.

MFA, Houston ARTS OF ISLAMIC LANDS: SELECTIONS FROM THE AL-SABAH COLLECTION, KUWAITJan 26-Jan 4, 2015This exhibition marks the rst in a renewable, ve-year agreement that enables the MFAH to present the glori-ous achievement of Islamic visual culture in a comprehensive display. The legendary al-Sabah Collection was founded by Sheikh Nasser Sabah al-Ahmed al-Sabah and his wife, Sheikha Hussah Sabah al-Salem al-Sabah. The collection preserves and presents all aspects of Islamic art and comprises more than 30,000 pieces.


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Nelson-Atkins MuseumREVEALING A HIDDEN TREASURE: A JAIN SHRINE FROM INDIA June 20-May 31, 2015Acquired in 1932, this ornately carved and painted shrine spent the next 70 years in storage at the Nelson-Atkins. Before it could go on exhibition, conservators spent over a year cleaning, conserving and studying the shrine.

Norton Simon Museum IN THE LAND OF SNOW: BUDDHIST ART OF THE HIMALAYASMarch 28-August 25, 2014In the Land of Snow is the Museums rst large-scale exhibition of Himalayan Buddhist art, bringing together exceptional Indian, Nepalese and Tibetan Buddhist sculptures along with thangkas from throughout the Himala-yan region.

Peabody Essex Museum FIGURING THE ABSTRACT IN INDIAN ARTOn view April 5, 2014 to May 31, 2015This installation of 20th-century paintings and 15th- to 19th-century sculptures explores the concept of abstrac-tion as a vehicle for embodying form and meaning. Moving beyond culture and across time, these works con-sider style, structure and color, as well as the gurative, metaphorical and idealized as key facets of the abstract.

Rubin MuseumBODIES IN MOTION: THE ART OF TIBETAN MEDICINEMarch 15-September 9, 2014The rst major exhibition to present the origins, history and practice of a millennium of visual history, Bodies in Balance explores the guiding principles of the Tibetan science of healing represented in medical paintings, manuscripts, and medical instruments.


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