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Faculty Profiles
For contact information, click on "Faculty Directory." JAMES G. HARPER, Associate Professor Professor Harper's research on the art of the renaissance and baroque periods focuses on several overlapping fields. One is the monumental, rhetorical (and often allegorical) imagery that occurs at the intersection of art and politics. Another is tapestry, the most versatile (and to the period eye, the most magnificent) of the large-scale media. Another is the art of Pietro da Cortona (1597-1669) and his followers, with particular attention to workshop practice and the connection between drawings and finished artworks, whether those are frescos, oil paintings, tapestry or sculpture. Another of Harper’s scholarly interests is the city of Rome, a field that encompasses urbanism, architecture, and topography as well as the ceremonial, ritual and festival life of the papal city. Recently Prof. Harper has also been examining how European artists imagine and represent the Ottoman Empire and its peoples. Participant in a complex politics of identity, their images often tell more about the cultures that made and consumed them than they do about the cultures that they purport to depict. Currently Prof. Harper is working on a book about how the nephews of the baroque popes handle their fall from power upon the death of their uncles. Entitled “Postnepotism,” this project looks at how these ex-nephews used art and architecture as "bargaining chips" in the renegotiation of their social, economic and political positions. Listed below are representative examples of recent and current scholarly activity. JEFFREY M. HURWIT, Professor Trained in Classical languages and literatures, as well as in Classical art and archaeology, Prof. Hurwit specializes in the history of art and culture in Archaic and Classical Greece. His scholarship is broad in methodology and approach, ranging from studies on liminality and the framing of images in Greek art, to the problems of style and "nationality" in the Bronze Age Aegean, to Archaic Greek literary and artistic conceptions and representations of the natural world, to a definitive analysis and new reconstruction of the iconic Kritios Boy, to investigations of the interplay between words and images in Greek art and problems of narrative structure on such works as the Chigi vase (another icon of early Greek art), to the function and iconographic unity of the Athenian Acropolis. He approaches the work of art as an expression of culture, and tries to situate it within its historical, philosophical, and social contexts. Selected recent and representative publications are listed below. BOOKS: Periklean Athens and its Legacy, co-edited with J. Barringer. Austin: University of Texas Press, 2005. The Acropolis in the Age of Pericles. Cambridge and New York: Cambridge University Press, 2004. The Athenian Acropolis: History, Mythology, and Archaeology from the Neolithic Era to the Present. Cambridge and New York: Cambridge University Press, 1999. The Art and Culture of Early Greece, 1100-480 B.C. Ithaca: Cornell University Press, 1985. ARTICLES: "The Human Figure in Early Greek Sculpture and Vase-Painting," in H. A. Shapiro, ed., The Cambridge Companion to Archaic Greece. Cambridge and New York: Cambridge University Press, forthcoming. "The Setting," in J. Neils, ed., The Parthenon: From Antiquity to the Present. (Cambridge and New York: Cambridge University Press, forthcoming. "The Parthenon and the Temple of Zeus at Olympia," in New Perspectives on Periklean Athens, forthcoming. "Reading the Chigi Vase," Hesperia 71 (2002), 1-22. WORK IN PROGRESS: Current research includes investigations of the "uncanny" in Archaic Greek art and of "heroic nudity" in Classical sculpture and vase-painting. ESTHER JACOBSON-TEPFER, Maude I. Kerns Professor Emerita of Asian Art Her research and publications (in books and articles) focus on the art and archaeology of the Scytho-Siberians (the early nomads of the Eurasian Steppe) and of their predecessors in the Bronze Age and earlier. Some recent and representative articles are listed below. ARTICLES: "Cultural Riddles: Stylized Deer and Deer Stones of the Mongolian Altai," forthcoming in the Bulletin of the Asia Institute. "The Filippovka Deer: Inquiry into their North Asian Sources and Symbolic Significance," forthcoming on-line publication, Metropolitan Museum of Art, New York. "Approaches to the Study of Petroglyphs of North and Central Asia," with H.-P. Francfort, in Archaeology, Ethnology, and Anthropology of Eurasia 2 (18) 2004, 53-78. "Petroglyphs and the Qualification of Bronze Age Mortuary Archaeology," Archaeology, Ethnology, and Anthropology of Eurasia 3 (11) 2002, 32-47. "Le plus ancien art à l'air libre en Mongolie-Altaï: images et paléoécologie," in D. Sacchi, ed., L'Art Paléolithique à l'air Libre, 209-216. Carcassonne: Gaep et Géopré, 2002. "Shamans, Shamanism, and Anthropomorphizing Imagery in Prehistoric Rock Art of the Mongolian Altay," in H.-P. Francfort and R. N. Hamayon, eds., in collaboration with P. Bahn, Shamanism: Uses and Abuses of a Concept (Bibliotheca Shamanistica, vol. 10), 277-294. Budapest: Akad￩miai Kiad?, 2002. "Early Nomadic Sources for Scythian Art," in E. Reeder, ed., Scythian Gold: Treasures from Ancient Ukraine, 50-69. Harry N. Abrams, in association with Walters Art Gallery and San Antonio Museum of Art. New York, 1999. CHARLES LACHMAN, Associate Professor
Prof. Lachman's research and teaching interests include the history of Chinese landscape painting, Chinese art theory, and Buddhist art (especially Chan/Zen painting). He is also the Curator of Asian Art at the University of Oregon's Jordan Schnitzer Museum of Art. A selection of various publications is given below. BOOKS/MONOGRAPHS: A Way With Words: The Calligraphic Art of Jung Do-jun (JSMA/University of Washington Press, 2006). Exhibition catalogue. The Ten Symbols of Longevity: An Important Korean Screen in the Collection of the Jordan Schnitzer Museum of Art, The Collection in Context series (JSMA/University of Washington Press, 2006). Evaluations of Sung Dynasty Painters of Renown: Liu Tao-ch'un's Sung-ch'ao ming-hua p'ing, T'oung Pao monographie XVI (Leiden: E.J.Brill, 1990). Ming-ch'i Figures from the Collection of William F. Little (Hanover: Hood Museum of Art, 1989). Exhibition brochure. "Art," in Critical Terms for the Study of Buddhism, ed. D. Lopez. Chicago: University of Chicago Press, 2005. "Chan Art" and "Bodhisattva Imagery." Entries for The Encyclopedia of Buddhism, ed. R. Buswell (New York: Macmillan, 2003). "Chinese Landscape Art." In The Encyclopedia of World Environmental History, eds. S. Krech III et al. (New York: Routledge, 2003). "The Fragrance of Ink: Korean Literati Painting of the Chosôn Dynasty from Korea University," Korean Culture 18.2 (Summer 1997); 4-13. "Blindness and Oversight: A Double-Portrait of Qianlong and the New Sinology," Journal of the American Oriental Society, 116.4 (1996); 736-44. "Why Did the Patriarch Cross the River? The Rushleaf Bodhidharma Reconsidered," Asia Major 3rd ser. 6.2 (1993); 237-268. PROFESSIONAL ACTIVITIES: Field editor (covering China and Korea) for CAA.Reviews, the on-line journal of the College Art Association. Prof. Lachman has curated numerous museum exhibitions, including "The Realm of Revelation: Vision and Imagination in Later Korean Art" (2000); "Angles of Vision: Rooftops in the Art of Junichiro Sekino" (2005); “Ukiyo-e Outside In: Western Impressions of the Floating World” (2005); “A Way with Words: The Calligraphic Art of Jung Do-jun” (2006); and “Buddhist Visions” (2008).
Professor Mondloch completed her undergraduate work in the School of Foreign Service at Georgetown University and earned both her MA and Ph.D. in art history from UCLA. She joined the University of Oregon faculty as Assistant Professor of contemporary art and theory in 2005. Her research interests are interdisciplinary and include media art, digital culture, contemporary art and feminism, as well as theories of spectatorship and subjectivity. She has published in a variety of forums, including Art Journal, Afterimage, CAA.Reviews, and Leonardo, and has lectured widely on contemporary visual culture. Professor Mondloch has been awarded postdoctoral fellowships from the University of California Humanities Research Institute and the Oregon Humanities Center. She is currently completing a book entitled Screen Subjects: Screen Spectatorship in Contemporary Art.
LELAND ROTH, Marion D. Ross Distinguished Professor of Architecture In addition to his graduate degrees in Architectural History, Prof. Roth has a Bachelor's degree in architecture from the University of Illinois, Champaign-Urbana. His primary field of research is American architecture and urban planning, especially from 1865 to 1940. More recently he has turned attention to the study of both Oregon architecture and Native American architecture. His earlier research and publications have included aspects of American Beaux-Arts classicism as well as American architecture in general. A Monograph of the Work of McKim, Mead & White, 1879-1915, 4 volumes in one (New York: B. Blom, 1973; reissued by Arno Press, 1977 The Architecture of McKim, Mead & White, 1870-1920: A Building List (New York: Garland, 1978). A Concise History of American Architecture (New York: Harper & Row, 1979). America Builds: Source Documents in American Architecture and Planning, (New York: Harper & Row, 1983). McKim, Mead & White, Architects (New York: Harper & Row, 1983). Understanding Architecture: Its Elements, History and Meaning (New York: HarperCollins, 1993); also published in Spanish and Turkish Building at the End of the Oregon Trail. Field Tour Guidebook, Vernacular Architecture Forum, Annual Meeting, April, 1997. Shingle Styles: Innovation and Tradition in American Architecture, 1874 to 1984. (New York: Harry N. Abrams, 1999. American Architecture: A History (Boulder, CO: Westview Press, 2001). Editor for Marion Card Donnelly, Architecture in Colonial America (Eugene: University of Oregon Press, 2003). Books In Progress The Architecture of John Yeon. A study of the life and work of an early Oregon modernist. Understanding Architecture, 2nd ed. (Boulder, CO: Westview Press, in final editing, summer 2006. Architecture in Eden: A History of Architecture in Oregon. In progress. Journal Articles, Book Chapters, Editorial Consultation “Three Industrial Towns by McKim, Mead & White,” Journal, Society of Architectural Historians 38 (December 1979): 317-47. “The Model Houses of The Ladies' Home Journal,” in Metropolis 6 (January/February 1987): 53 “McKim, Mead & White and the Brooklyn Museum, 1893-1934,” in A New Brooklyn Museum; The Master Plan Competition, Joan Darragh, ed. (New York: Brooklyn Museum and Rizzoli, 1988), 26-51. “Ellis F. Lawrence: The Architect and His Times,” in Harmony in Diversity: The Architecture and Teaching of Ellis F. Lawrence, Michael Shellenbarger, ed. (Eugene, OR: University of Oregon, 1989), 61-77. “Getting the Houses to the People,” Perspectives in Vernacular Architecture V (1991): 187-96. [Concerns the model house designs “Company Towns in the Western United States, “ in The Company Town: Architecture and Society in the Early Industrial Age, J. Garner, ed. (New York: Oxford University Press, 1992): 173-205 “The Architecture of Progressivism on the 'Frontier',” Oregon Humanities (Winter 1993): 21-29; revised and reprinted in Oregon Heritage vol. 1 (Spring 1994): 29-36. This was a short essay on the development of architecture in Oregon. “Living Architecture: Differing Native and Anglo Perceptions of Preservation,” Cultural Resource Management 18, no. 5 (1995): 33-40. “The Pebble in the Pond: The Ripples of Henry Villard’s Rise and Plunk,” Arcade: Architecture/Design in the Northwest 22 (Autumn 2003): 29-30 Wickiup. Editorial consultant for book written by Yasmine Cordoba (Minneapolis, MN: Sagebrush Education Resources, 2004. Professional Activities Member, Board of Directors, Frank Lloyd Wright Gordon House Building Conservancy, Oregon Garden. Also trains docents for the Gorden House He has served as a consultant on several historic preservation projects, and most recently (2004-05) advised on the design and structure of the Long House project for the Confederated Tribes of the Grand Ronde, Oregon. ANDREW SCHULZ, Department Head and Associate Professor Professor Schulz specializes in eighteenth- and nineteenth-century European art, the art of Spain and its world from 1500 to the early twentieth century, and the history of printmaking. Much of his published work has focused on Francisco Goya (1746-1828), culminating with an award-winning book on the artist’s seminal print series, Los Caprichos. His continuing research on Goya addresses the artist’s legacy in the nineteenth and twentieth centuries. In addition, Prof. Schulz has several works-in-progress that examine the use of visual culture to construct Spanish imperial and national identity in the late eighteenth and early nineteenth centuries. Prof. Schulz’s theoretical interests include the relation between word and image, the grotesque, and reception theory. Goya’s Caprichos: Aesthetics, Perception, and the Body, New York: Cambridge University Press, 2005. ARTICLES: “Moors and the Bullfight: History and National Identity in Goya’s Tauromaquia,” The Art Bulletin XC (June 2008). “Spaces of Enlightenment: Art, Science, and Empire in Eighteenth-Century Spain,” in Spain in the Age of Exploration, 1492-1819, ed. Chiyo Ishikawa, exh. cat., Seattle: Seattle Art Museum, 2004, pp. 189-227. “Goya’s Portraits of the Duchess of Osuna: Fashioning Identity in Enlightenment Spain,” in Women, Art, and the Politics of Identity in Eighteenth-Century Europe, eds. Melissa Hyde & Jennifer Milam, Aldershot: Ashgate, 2003, pp. 263-83. WORKS IN PROGRESS: “Al-Andalus in the Age of Enlightenment: Islamic Art and Culture in the Spanish Imagination” (book). “Charles III and the Alhambra Vases: Muslim Ceramics and European Porcelain in Eighteenth-Century Madrid” (article) “Masterworks from the Age of Goya: The Duchess of Osuna as Patron and Collector” (exhibition proposal) “The Culture of Display: Art, Science, and Empire in Madrid, 1750-1820" RECENT AWARDS, HONORS, AND FELLOWSHIPS: 2008-09 NEH Fellowship for “Al-Andalus in the Age of Enlightenment” 2007-12 University of Oregon Faculty Excellence Award 2007 Eleanor Tufts Prize, American Society for Hispanic Art Historical Studies for Goya’s Caprichos: Aesthetics, Perception, and the Body 2007 University of Oregon Summer Faculty Fellowship 2006 Williams Council for Undergraduate Education Fellowship for “Inside the Museum”
PROFESSIONAL ACTIVITIES: Consultant to Seattle Art Museum for new galleries of European art (opened in 2007). Advisory Committee, Spain in the Age of Exploration, 1492-1819, Seattle Art Museum and Norton Museum of Art, West Palm Beach, FL, 2004-05. Prof. Simmons has broad interests related to the visual culture of the late nineteenth and twentieth centuries. His early research and writing dealt with the emergence of abstract art, particularly the work of Malevich in Russia. He continues to keep abreast of the scholarship about abstraction and modern Russian art. His more recent scholarship has focused on the impact of mass culture on the practices and institutions of fine art. Courses on poster art, montage as an artistic structure, cubism and popular culture, and dada and kitsch have developed from this work. His work is socially based and strongly historical, addressing and drawing insight from a wide range of cultural artifacts. He also employs theory where relevant to the historical material and its relationship to the contemporary situation. Listed below are some representative publications by Prof. Simmons. BOOK:
Kasimir Malevich’s Black Square and the Genesis of Suprematism, New York and London, 1981. ARTICLES:
“Dada and Kitsch: Cultivating the Trivial,” Dada Virgin Microbe, edited by David Hopkins and Michael White, Northwestern University Press, forthcoming. “Kirchners Brücke Plakat: Holzschnit zwischen Kunst und Werbung,” Jahrbuch der Staatlichen Kunstsammlungen Dresden. Berichte, Beitrage 2005, Vol. 32, 96-103. “Split-Identity in Ernst Ludwig Kirchner’s Peter Schlemihls wundersame Geschichte,” Zeitschrift für Kunstgeschichte, Vol. 70, no. 3 (2007), 409-32
“Kirchner’s Brücke Poster,” Print Quarterly, Vo. 23, no. 2 (June 2006), 155-73. Ernst Neumann’s ‘New Values of Visual Art’: Design Theory and Practice in Germany at the Turn-of-the-Century,” Design Issues, Vol. 21, no. 3 (2005), 49-66. Introductory critical essay for Toon Verhoef: Paintings 2002-2004, exhib. cat., Jaffe-Friede & Strauss Galleries, Hopkins Center, Dartmouth College, Hanover, NH, 2004, 6-9. “’To Stand and See Within’: Expressionist Space in Ernst Kirchner’s Rhine Bridge at Cologne,” Art History, Vol. 27, no. 2 (2004), 250-81. “Ornament, Gender, and Interiority in Viennese Expressionism,” Modernism/Modernity, Vol. 8, no. 2 (2001), 245-76. “‘Hand to the Friend, Fist to the Foe’: The Struggle of Signs in the Weimar Republic,” Journal of Design History, Vol. 13, no. 4 (2000), pp. 319-39. “Ernst Kirchner’s Streetwalkers: Art, Luxury, and Immorality in Berlin, 1913-16,” Art Bulletin, Vol. 82, no. 1 (2000), 117-48. "August Macke's Shoppers: Commodity Aesthetics, Modernist Autonomy, and the Inexhaustible Will of Kitsch,” Zeitschrift fü Kunstgeschichte, Vol. 63, no. 1 (2000), 47-88. "‘Advertising Seizes Control of Life’: Berlin Dada and the Power of Advertising," Oxford Art Journal, Vol. 22, no. 1 (1999), 119-46. WORK IN PROGRESS
Kunst oder Kitsch? Art and Mass Culture in Germany 1890-1920 (book) “Avant-Garde and Kitsch: Clement Greenberg and the German Discourse,” (article) “Hermann Eßwein and Modern Visual Culture: An Alternative to Meier-Graefe’s Modernism” (article) “Ernst Kirchner’s Still-Lifes: Cubism and the Space of Textiles” (article) The Expression of Depth-Content: Modern German Art and Religion (initial work toward a book and/or exhibition) RICHARD A. SUNDT, Associate Professor Prof. Sundt's research lies in two main areas, and although disparate in time and location, most of the monuments he considers are nevertheless linked by a commonality of distinctive architectural elements, similar problems relating to ritual function, and a methodology grounded on the analysis of standing structures and a critical reading of archival documents. His research on Gothic architecture focuses on the cathedral of Albi and the churches of the mendicant orders (both male and female branches). He pays particular attention to problems involving the allocation of space among diverse members of the faithful and how the liturgy was accommodated within the non-traditional spatial settings characteristic of certain mendicant churches in medieval Europe. His other area of investigation concerns 19th- and 20th- century edifices that reflect, either consciously or as an independent phenomenon, the afore-mentioned medieval monuments. His studies on Albi seek to account for the flurry of Albigensian-inspired churches during the Gothic Revival in Europe, the Americas and Australasia. With respect to the mendicant churches, Prof. Sundt demonstrates similarities in planning and liturgical accommodation between these medieval edifices and the timber churches erected by the Maori in Aotearoa/New Zealand during the 19th century. His study of these New Zealand monuments includes consideration of their internal ornamentation as it relates to Maori vs. missionary controversies regarding the admissibility of carved imagery in places of worship. Listed below are representative publications in his two research areas. ARTICLES:
“Northern Gothic Southernized and Mendicanized?: The Buttresswork of the Friars’ Brick Churches in Toulouse,” AVISTA Forum Journal, Vol. 15, no. 1, Fall 2005, 37-40.
"From Half to Full Palmier: Factors Contributing to the Final Chevet Design of Toulouse's Jacobin Church," AVISTA Forum, IX/2, Fall 1995-Winter 1996, 7-15. "The Jacobin Church of Toulouse and the Origin of Its Double-Nave Plan," Art Bulletin, LXXI, no. 2, June 1989, 185-207. "La cathédrale d'Albi et les églises gothiques à chapelles hautes: Style, fonction et difussion," in Autour des maîtres d'oeuvre de la cath￩drale de Narbonne, ed. M. Demore, Narbonne, 1994, 121-28. "Architectural Simile, Copy, or Original Creation?: The Church of St. Brigid in Brisbane (Australia) and Its Relationship to Gothic Architecture in Southern France," Visual Resources, 15, no. 2, 1999, 149-202. "On the Erection of Maori Churches in the Mid-19th Century: Eyewitness Testimonies from Kaupapa and Otaki," Journal of the Polynesian Society, 108, no. 1, 1999, 7-37. WORK IN PROGRESS:
Reconstruction of a Now-Vanished Maori Church: Controversy and Creativity at Manutuke, 1848-1863 . Submitted to the Polynesian Society, Auckland, New Zealand, 2008. Maori Church Building and Decoration in 19th-Century Aotearoa New Zealand. For Auckland University Press, 2008.
"Albi Cathedral: Its Interpretation and Influence during the Gothic Revival in Europe, the Americas and Australasia." (Article, currently undergoing revision and expansion) PROFESSIONAL ACTIVITIES: Project Director (and webmaster) of the on-line International Census of Doctoral Dissertations on Medieval Art and Architecture, sponsored by the International Center of Medieval Art and hosted by the University of Oregon at the following URLs: |
   
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