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Faculty Profiles
FULL-TIME FACULTY MARY-LYON DOLEZAL, Associate Professor. University of Chicago, Ph.D., 1991. Prof. Dolezal explores, primarily within the realm of Byzantine manuscripts of the ninth through fourteenth centuries, two major issues: the relationship between text and image and the function of books in society. JAMES G. HARPER, Associate Professor. BOOK: Verso: The Flip Side of Master Drawings. Cambridge: Harvard University Art Museums, 2001. (Exhibition catalogue) ARTICLES & ESSAYS: “War and Peace in the Barberini Tapestries” in I Barberini e la Cultura Europea del Seicento, Rome: DeLuca, 2007. “Tapestry Production in Seventeenth Century Rome: The Barberini Manufactory”, in Tapestry in the Baroque: Threads of Splendor, ed. Thomas Campbell. New Haven & New York: Yale University Press, 2007. "Pietro Lucatelli, Pietro da Cortona and the Arazzeria Barberini: Three New Attributions", Studies in the Decorative Arts XII, 2 (2005). "Turks as Trojans, Trojans as Turks: Visual Imagery of the Trojan War and the Politics of Cultural Identity in Fifteenth-Century Europe" in Translating Cultures: Postcolonial Approaches to the Middle Ages, ed. D. Williams and A. Kabir. Cambridge and New York: Cambridge University Press, 2005. "The Tapestry Cycle of the Life of Cosimo I: The Man and his Myth in the Service of Ferdinando II", in The Cultural Politics of Grand Duke Cosimo I de'Medici, ed. K. Eisenbichler. London: Ashgate Press, 2001. WORKS IN PROGRESS: Postnepotism: Art Strategies and the Survival of the Cardinal Nephew (1621-1676) (book) The "Turk" and Islam in the Western Eye (1453-1750): Visual Imagery before Orientalism, a collection of essays by various authors, edited and with an introductory essay by James Harper (forthcoming with Ashgate Press). PROFESSIONAL ACTIVITY: "Magnificence & Responsibility: Famiano Strada, Ludovico Ludovisi and the Church of Sant’Ignazio in Rome", presented at the symposium The Majesty of Power in Seventeenth-Century Italy: Ritual, Representation, Art, Clark Memorial Library and the UCLA Center for 17th & 18th c. Studies, Los Angeles, November 2007. “Tapestry, Strategy, and Reflections on Fate: A New Reading of the Barberini Apollo Series”, presented at the symposium Tapestry in the Baroque: Threads of Splendor, Metropolitan Museum of Art, New York (USA), October 2007. “A Roman Baroque Puzzle and a Roman Baroque Solution: Lanfranco's Villa Borghese Ceiling”, invited public lecture at the National Gallery of Art, September 2007. “Iron Curtain and Global Village: the Historiographic Positioning of Venice and the Islamic World”, presented at the symposium Venice and the Islamic World, Metropolitan Museum of Art, New York, April 2007. “Pocket Propaganda: The Functions of Papal Annual Medals”, presented at the annual conference of the Renaissance Society of America, April 2006. "The Lost Cause in the Mother Church: Distance and Deflection in the Monuments of the Exiled Stuart Kings in Rome", presented at the annual conference of the College Art Association, Atlanta (USA), February 2005. "War and Peace in the Barberini Tapestries", presented at the conference I Barberini e la Cultura Europea del Seicento, Rome, December 2004. "The Triumphal Funeral of Antonio Ne Vunda: The Congolese Ambassador & the Versatility of Ephemera in the Rome of Paul V", invited public lecture at the British Institute in Florence, June 2004. "Tapestry as Commentary: 'Postnepotism' and the Mutability of Meaning in Baroque Rome", presented at the conference Zur Ikonologie des textilen Mediums, Riggisberg (Switzerland), June 2003. Session chair of The Turk and Islam in the Western Eye (1452-1832), College Art Association Annual Conference, New York, February 2003. DEBORAH D. HURTT, Assistant Professor. Professor Hurtt’s research explores the architecture of the mid-twentieth century, particularly with respect to how diverse conceptions and practices of the modern affect issues of political and cultural identity as well as subsequent understandings of the postmodern. More specifically, her work has focused on the intersection of the regionalist and avant-garde movements of inter-war France with regard to how their embodiment of competing factors such as the local and international, tradition and change gave architecture a highly politicized and influential role in French society. Current work examines these issues from the broadened perspective of cultural geography to ask how societies’ interaction with the land, through architecture, shapes often deep-seated matters of identity. She also addresses these topics with a more contemporary focus by examining how globalization and consumer culture are affecting architectural theory and practice. ARTICLES "Simulating France, Seducing the World: the Regional Center at the 1937 Paris Exposition," in Architecture and Tourism, ed. D. Medina Lasansky and Brian McLaren (Oxford: Berg Publishers, 2004): 147-164. "Conciliation and Controversy: Regionalist Architecture at the 1937 Paris Exposition,” in Proceedings of the Genius Loci International Symposia: Architecture between Regional Identity and Globalization," (23-25 April 1999, 19-23 October, 2000), International Union of Architects, ed. Carmen Popescu and Ioana Teodorescu (Bucharest: Simetria, 2002): 224-229. PROFESSIONAL ACTIVITIES "Simulating France, Seducing the World: the Regional Center at the 1937 Paris Exposition," presented as part of a session entitled "The Architecture of Tourism/The Tourism of Architecture" at the College Art Association's Annual Conference. Philadelphia, PA. (February 20-23, 2002) "Conciliation and Controversy: Regionalist Architecture at the 1937 Paris Exposition," presented at the Genius Loci International Seminar: "Architecture between Regional Identity and Globalization." Bucharest, Romania. (October 19-23, 2000) "The Confrontation of Regional and International Architecture in 1937 Paris" presented at the Annual Meeting of the Society of Architectural Historians. Miami, FL. (June 14-18, 2000) "Rural and Regional Architecture in 1930s France: A Spectrum of Modernisms," presented as part of a panel entitled "Responses to Modernism: Film, Architecture, and Photo-Montage in 1930s France." Annual Meeting of the Society of French Historical Studies, Tuscon, AZ. Panelists included: Alison Murray, Film, University of North Carolina; Romy Golan, Art History, City University of New York; Caroline Ford, History, University of British Columbia. (March 30-April 2, 2000) "Rivalry and Representation in Inter-war France: Regionalist Architecture and the Reconstruction of National Identity," presented to a National Graduate Student Workshop entitled, "Blurring the Boundaries: Politics and Culture in the French Third Republic." University of Michigan, Ann Arbor, MI. (October 24-26, 1997) 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. 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). KATE MONDLOCH, Assistant Professor. University of California, Los Angeles, Ph.D., 2005.
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. KATHLEEN NICHOLSON, Professor. University of Pennsylvania, Ph.D., 1977. The art of the late 18th- and 19th-centuries is Prof. Nicholson's principal area of research and publication. Her investigations range from J.M.W. Turner and British landscape paintings (book) to French allegorical portraits of women (book in progress). 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, 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: PART-TIME FACULTY ESTHER JACOBSON-TEPFER, Former Maude Kerns Professor 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. |
   
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