A Ph.D. candidate in the Department of History of Art, Julia Bryan-Wilson intends in her dissertation, Art/Work: Artistic Labor and Institutional Critique in the Age of Vietnam, 1966-1975, to track the emergence of notions of art as work in the late 1960’s.
Whitney Davis's work concentrates on the theory of visual-cultural studies and a history of homoerotic aesthetics from the Enlightenment to Freud.
With a B.A. from Harvard in Art and Architectural History and the MSt. from Oxford in Classical Archaeology, Jennifer Stager joins the Department of History of Art with a focus on the interaction between the Greco-Roman world and that of the Ancient Near East.
Khullar intends to pursue the larger questions of gender, nation, and modernity in the context of nineteenth- and twentieth-century South Asia, and more particularly, to investigate the relationship between the emergence of a national culture and the modern nation state following Partition.
A candidate for the Ph.D in History of Art, Julian D. Myers, in his dissertation, turns to the relationship between American artists and the landscape in the 1960’s and 1970’s.
Elizabeth Dungan, who will hold a dissertation fellowship from the American Council of Learned Societies (Henry Luce Foundation/ACLS Fellowship Program in American Art) during her year as a Townsend Fellow, looks to intersections between medical models of illness— imaging technologies and diagnostic techniques, CAT scans, X-rays and blood tests—and concomitant representations of the body by contemporary American artists in a dissertation entitled Discourses on Disease and Representations of the Body, 1980-1995.
Sarah Kennel, who will be supported by a grant from the Center for Advanced Studies in the Visual Arts at the National Gallery in Washington D.C. in 1999-2000, is a Ph.D. candidate in History of Art working on a dissertation entitled Bodies, Statues, Machines: Dance and Modernism in France.
The sudden genesis and extraordinary diffusion of the devotional figure of the child St. John the Baptist engages the dissertation of Stefanie Solum, a Ph.D. candidate in History of Art.
