Julia Andrews
Distinguished University Professor of Chinese Art
In 2022 Julia Andrews published “Peinture rouge, dessins et encres révolutionnaires (Red Painting, Revolutionary Drawings and Ink Paintings),” in Ink in Motion, A History of Chinese Painting in the 20th Century, exhibition catalogue for an exhibition at Musee Cernusci, Paris, October 21, 2022-Feb. 19, 2023, pp. 144-166; and “Zhang Wei’s Fusuijing Building,” in the inaugural catalogue for Hong Kong’s new M+ Museum: Chinese Art Since 1970: The Sigg Collection (Hong Kong and London: M+ and Thames and Hudson, 2022), pp. 488-489.
On April 20, 2022, she presented “Landscape and Artistic Revolution: André Claudot (1892-1982) and the Modern Art Movement in China” at “Modern and Contemporary Chinese Ink Painting: Histories, Borders, and Values, An International Virtual Symposium,” sponsored by the Mozhai Foundation, University of Maryland, and UMD Center for East Asian Studies. On July 14 and 15, she participated virtually in a round table entitled “Alternative Collections and Digital Humanities of Twentieth-Century Chinese Art and Visual Culture” at the University of Toronto. On November 9, 2022, she spoke at the Harn Museum, University of Florida, on “Women Artists in Twentieth-Century China: A Prehistory of the Contemporary.”
In collaboration with Dr. Hou-mei Sung, Cincinnati Art Museum, Dr. Janice Glowski, Otterbein University, and Dr. Kuiyi Shen, UCSD, she is preparing the catalogue for From Shanghai to Ohio: The Painting of Wu Zhongxiong (Woo Chung Yong; 1898-1989), to show at the Cincinnati Art Museum in 2023. She is also working on a co-edited volume with Shu-yu Kong and Shengtian Zheng tentatively titled Art and Modernism in Socialist China: Unexplored International Encounters, 1949-1979.
Lisa Florman
Professor of Modern Art and Vice Provost for the Arts
In September, Lisa Florman stepped down from her job as Arts and Sciences Associate Dean for Interdisciplinary Studies and Community Engagement to assume a new position as the university’s Vice Provost for the Arts. She is still trying to keep at least one foot in art history, however. Two translations she did of essays about Wassily Kandinsky by the French philosopher Alexandre Kojève will appear later this year in a book on Kojève being published by David Zwirner Galleries as part of their Ekphrasis series. Lisa also wrote the introduction to a new translation (by Ruth Ahmedzai Kemp) of Kandinsky’s Concerning the Spiritual in Art that is scheduled to appear from Penguin Random House in 2023.
Mark Fullerton
Professor of Ancient Art
For the 2022-23 academic year, Professor Fullerton is serving as the interim chair of the Ohio State Department of Classics.
Byron Hamann
Associate Professor of Latin American Art
In 2022, Byron Hamann’s book, The Invention of the Colonial Americas: Data, Architecture, and the Archive of the Indies, 1781-1844, was published by the Getty Research Institute. He also published a chapter, “Edible Gods and the Anthropology of Sacrifice” in Sacrifice and Conversion between Europe and the New World, edited by Maria Berbara (I Tatti, 2022).
Namiko Kunimoto
Associate Professor of Japanese Art and Director of the Center for Ethnic Studies
This past academic year, Namiko Kunimoto published “Katsura Yuki and the Allegorical Turn,” a chapter in Water Moon Reflections: Essays in Honor of Patricia Berger and “Situating “Becoming a Statue of a Japanese ‘Comfort Woman:’ Shimada Yoshiko, Bourgeois Liberalism and the Afterlives of Japanese Imperialism” in Verge: Studies in Global Asias. She also published “On Violence and Gender in Postwar Japanese Art: As Seen Through Untitled, 1962” for White Cube Gallery and has made headway in her current book project, Transpacific Erasures: Contemporary Art, Gender, and Race in the Afterlives of Japanese Imperialism. In the fall semester, Namiko gave a talk entitled “From Hiroshima and Minamata to Today: Socially Engaged practices in post-war Japan,” for the Daiwa Foundation, and spoke at Yale University on “Performing Memorial Sculpture.” She also chaired a panel at the College Art Association called “Shaping Modern Memory in Japanese Sculptural Practices,” and two panels at Ohio State: “Knowledge, Power, and the Ethics of Engaged Scholarship” and “Covid, Racism, and the Ongoing Struggle.” She was thrilled to receive an Ohio State Arts and Humanities course release award as well as an Ohio State Arts and Humanities Larger Grant. Namiko enjoyed working as a grant reviewer for the National Endowment for the Humanities and as a referee for UC Press, Minnesota Press, and the Journal of Japanese Studies. She is proud to announce that her first PhD student to graduate, Eunice Uhm, moved from her postdoctoral fellowship at Kalamazoo College to take on a tenure-track job at the Massachusetts College of Liberal Arts. Namiko looks forward to working with her newest graduate students, Mia Kivel and Christy Sher, who will join her other advisees, Alice Phan, Hannah Slater, and Maika Kagawa Bahr.
Erica Levin
Associate Professor of Contemporary Art and Experimental Cinema
Erica Levin published her first book, The Channeled Image: Art and Media Politics After Television (University of Chicago Press, 2022) An essay, “Nothing Clarifies an Image Like Another Image: New Approaches to Found Footage Filmmaking” also appears in A Companion to Experimental Cinema (Wiley Blackwell, 2022). While on leave this fall, she has begun a second book project focused on obscure sites of cinematic inquiry: disrupted ecosystems, fault lines, forgotten communes, abandoned mines, and imaginary desert islands. This research examines how ongoing processes of dispossession, extraction, and exploitation serve as the impetus for the development of emancipatory filmic forms. She received a Coca-Cola Critical Difference Grant for Research on Women, Gender and Gender Equity to support this new research, which will enable her to travel to Portugal. This fall, she also led a Field School trip to New York City (previously postponed due to the pandemic), taking students to festival screenings and archives where experimental films are exhibited and preserved.
Daniel Marcus
Assistant Professor of Practice
In his role as Associate Curator of Exhibitions at the Wexner Center for the Arts, Daniel Marcus organized two major exhibitions this past year. In February, his research into the archives of contemporary art at Ohio State resulted in To Begin, Again: A Prehistory of the Wex, 1968-89, an exhibition that occupied the entirety of the Wex, featuring rarely-seen works from the center’s permanent collection — inherited from the former University Gallery of Fine Arts — alongside loaned works and ephemera. A free publication accompanied this project, which included Marcus’s introductory essay and contributions by Stephanie K. Blackwood, Arielle Irizarry, Julian Myers-Szupinska, and Mark Svede. With grant support from the Ohio Humanities Council, Marcus also convened several public events around this project, including a conversation with visionary former University Gallery director Betty Collings co-sponsored by the Department of History of Art.
This September, Marcus collaborated with artist and Ohio State professor Carmen Winant (Department of Art) to organize Sharing Circles: Carol Newhouse and the WomanShare Collective, the first museum exhibition devoted to Newhouse’s photographic work and archives. At the exhibition opening, Marcus and Winant were joined by historian and photographer Leah DeVun to discuss Newhouse’s artistic practice; and this November, Marcus planned a panel discussion that situated the Women’s Lands movement within a local and regional perspective. In the free publication accompanying Sharing Circles, Marcus’s introductory essay explores the aesthetics of collectivity in the work of Newhouse and her community. Marcus was honored to receive, with Winant, a grant from the Graham Foundation in recognition of the exhibition’s contribution to the field of architecture and design history.
Beyond these curatorial ventures, Marcus published an essay on the iconoclastic artist Hannah Wilke in the January 2022 issue of Artforum; and his review of Jack Lowery’s book It Was Vulgar and It Was Beautiful: How AIDS Activists Used Art to Fight a Pandemic (Bold Type Books, 2022) was published on Artforum’s website this past April.
Christina Wei-Szu Burke Mathison
Associate Professor of Teaching of History of Art
In August 2022, Christina Wei-Szu Burke Mathison was promoted from lecturer to associate professor of teaching in the Department of History of Art, where she will continue to offer courses in Chinese and Taiwanese Art. In 2022, she presented a number of papers, including “Pilgrimage Across the Waters: A Sea Goddess and Taiwanese Colonial Identity” at the Himalayan Studies Annual Conference at the University of Toronto (October 2022), “Colonization, Imperialism, and Gender: How Taiwanese Visual Studies Contributes to DEI” at the North American Taiwan Studies Association Annual Conference at George Washington University (July 2022), “Art of the Sunflower and Umbrella Movements,” at HAPA (Half Asian People’s Association (April 2022), and “Identity in Taiwanese Art” at iTASA (Intercollegiate Taiwanese American Student Association) Conference (April 2022).
Jody Patterson
Associate Professor and Roy Lichtenstein Foundation Chair of American Art
Jody Patterson continues to design and deliver courses that explore the histories of American Art through first-hand study of artworks in local, regional, and national collections. This autumn she dedicated the Senior Research Seminar for undergraduate Majors to an in-depth exploration of the art of George Bellows, a Columbus native and Ohio State alumni. The seminar included a three-day field trip to New York City where the students worked with the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Museum of Modern Art. Patterson is at work on her next book project What About Modern Art and Democracy: The Legacies of the New Deal in American Art of the 1940s. This past year, she shared some of her new research at a Symposium organized by the Eskenazi Museum, Indiana University, Bloomington, and at a conference dedicated to American Art of the 1940s at the Courtauld Institute of Art, London. She is currently co-editing a Special Issue of the journal Art and the Public Sphere on international mural painting. She recently delivered the Semans Lecture at the Nasher Museum of Art, Duke University, on Roy Lichtenstein’s mural practice.
Kris Paulsen
Associate Professor of Contemporary Art and New Media
In 2022, Kris Paulsen received the 2022 Virginia Hull Research Award for her manuscript project, “Future Artifacts,” and saw several articles and book chapters appear in print, including a new essay on Zach Blas’s AI artworks in the first monograph on the artist, Zach Blas: The Unknown Ideal (Sternberg Press) and an essay on experimental television in the catalogue accompanying an exhibition by Jerry Hunt at Blank Forms in New York. Her essay “Half-Inch Revolution,” on guerrilla television in the 1960s and 1970s, was anthologized in Toward an Expanded History of Television. For the last two years, she has been working with Dr. Brian Michael Murphy on special issue of Media-N on “The Afterlives of Data”, which will appear in late 2022. She presented invited talks at Stanford University and at Library Futures, and delivered work at the annual conferences for The Society for Cinema and Media Studies (SCMS) and The Society of Literature, Science and the Arts (SLSA), as well as organizing and moderating a public conversation between artist Stephanie Dinkins and theorist Louis Chude-Sokei on “Black Futures/Black Technopoetics” addressing new aesthetic and ethical frontiers in Artificial Intelligence. Over the last year, Professor Paulsen has been spending much of her time working on exhibitions and public arts programming. With Kelly Kivland, chief curator of the Wexner Center for the Arts, and Professor Amy Youngs (Department of Art), Kris received a $48,000 grant to start a public programming series on Art, Technology, and Social Justice, funded by the Global Arts and Humanities Discovery Theme. The first programs will begin in spring 2023, with exhibitions and performances by Zach Blas and Micha Cardenas. Additionally, she is currently working with students in her graduate curatorial course on an early-career survey of Sarah Rosalena, which will open at the Columbus Museum of Art in 2023. The students are working with Professor Paulsen and the CMA staff to produce all of the texts, programming, and installation plans for the exhibition. Professor Paulsen happily continues this year as Chair of Undergraduate Studies and is proud to have graduated her third PhD advisee, Stephanie Kang, now assistant professor at Rocky Mountain College of Art and Design.
Andrew Shelton
Professor of Eighteenth and Nineteenth Century European Art
Andrew Shelton published an essay entitled “The First Retrospective Exhibitions of Drawings by J.- A.-D. Ingres (1861)” in a special issue of the online journal Nineteenth-Century Worldwide devoted to French drawings (21, no. 2, Summer 2002); the essay was accompanied by a 139-item index recreating the contents of the 1861 exhibition. In January 2022, Shelton delivered a lecture entitled “Van Gogh’s Empathy” at the Columbus Museum of Art in conjunction with the exhibition Through Vincent’s Eyes: Van Gogh and His Sources.
Karl Whittington
Associate Professor of Medieval European Art and Chair of History of Art
In 2022, Karl Whittington completed his book, Trecento Pictoriality: Diagrammatic Painting in Late Medieval Italy, forthcoming from Brepols in 2023 as part of the Renovatio Artium series. He also published several articles, including “Painting the Sculptural Body in Lucca and Florence: Intermediality in Croci Dipinte,” Gesta 61, no. 1 (2022); “The Cluny Adam: Queering a Sculptor’s Touch in the Shadow of Notre Dame” in a special issue on “Visualizing Gender and Sexuality in the Middle Ages,” Different Visions: A Journal of New Perspectives on Medieval Art 8 (2022); “Diagrammatic Formats from Page to Wall: Dante and the Strozzi Chapel, Revisited,” Dante Studies 140 (2022); and a review of Roland Betancourt, “Byzantine Intersectionality: Sexuality, Gender & Race in the Middle Ages,” 21: Inquiries into Art, History, and the Visual, Bd. 3, Nr. 2 (2022). He presented “Diagrammatic Affect from Page to Wall,” at “The Medieval Diagram as Subject,” a research symposium at the School of Advanced Study in London in May 2022, and presented “Returning to Ambrogio Lorenzetti’s Government Frescoes,” as part of the lecture series in the Department of History of Art at Princeton University in September 2022.
In May 2022, Karl took 24 students to Italy as part of his study abroad course, “Medieval Art in Italy: Rome and Florence,” and also returned to Italy in August to conduct research in Palermo and Rome. He also taught a graduate seminar in Spring 2022 on “Medieval Art: Acts of Making,” related to his new research project on queer making and desire in medieval art.
