Seminář dějin umění Palackého univerzity v Olomouci ve světle nově nalezeného archivu z let 1948-1954

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsGeorg BaselitzGeorg Baselitz was born January 23, 1938, in Deutschbaselitz in Saxony, Germany, and given the name Hans-Georg Bruno Kern. He lives and works at the Lake Ammersee (Bavaria) and in Imperia (the Italian Riviera).Kirk AmbroseKirk Ambrose is associate professor of medieval art history at the University of Colorado. His publications include the book The Nave Sculpture of Vézelay: The Art of Monastic Viewing and a co-edited volume that surveys approaches to Romanesque sculpture [Department of Art and Art History, 318 UCB, University of Colorado, Boulder, Colo. 80309, kirk.ambrose@colorado.edu].Elizabeth EdwardsElizabeth Edwards is professor of photographic history and director of the Photographic History Research Centre, De Montfort University. A visual and historical anthropologist, she previously held academic and curatorial posts in Oxford and London. She has written extensively on cross-cultural relations between photography, anthropology, and history [Photographic History Research Centre, De Montfort University, The Gateway, Leicester LE1 9BH, U.K., eedwards@dmu.ac.uk].Ursula Anna FrohneUrsula Anna Frohne is professor of art history for twentieth- and twenty-first-century art at the Kunsthistorisches Institut, University of Cologne. Her research focuses on contemporary art practices, visual theory, video, film, photography, cinematographic aesthetics (http://kinoaesthetik.uni-koeln.de/), the political implications of art, and the economies of the art system [Kunsthistorisches Institut, University of Cologne Albertus-Magnus-Platz, 50923 Cologne, Germany, ursula.frohne@uni-koeln.de].Cordula GreweCordula Grewe, author of Painting the Sacred in the Age of Romanticism (2009), recently completed The Nazarenes: Romantic Avant-Garde and the Art of the Concept; her new projects explore the arabesque from eighteenth-century aesthetics to twentieth-century modernism and the tableau vivant from 1800 to 2000 [Department of Art History and Archaeology, Columbia University, MC 5517, New York, N.Y. 10027, cg2101@columbia.edu or cordula@grewe.us].Daniel Heller-RoazenDaniel Heller-Roazen is the Arthur W. Marks ‘19 Professor of Comparative Literature and the Council of the Humanities at Princeton University. He is the author of five books, among which, most recently, The Fifth Hammer: Pythagoras and the Disharmony of the World (Zone Books, 2011) [Department of Comparative Literature, 133 East Pyne, Princeton University, Princeton, N.J. 08544, dheller@princeton.edu].Ian McLeanResearch professor of Indigenous contemporary art at the University of Wollongong, Ian McLean has published How Aborigines Invented the Idea of Contemporary Art, The Art of Gordon Bennett, and White Aborigines: Identity Politics in Australian Art. He serves on the advisory boards of Third Text, World Art, and National Identities [Faculty of Creative Arts, University of Wollongong, NSW 2522 Australia, imclean@uow.edu.au].Saloni MathurSaloni Mathur, associate professor of art history at the University of California, is author of India by Design: Colonial History and Cultural Display (2007), editor of The Migrant's Time: Rethinking Art History and Diaspora (2011), and co-editor of No Touching, Spitting, Praying: Modalities of the Museum in South Asia (forthcoming) [Department of Art History, University of California at Los Angeles, 100 Dodd Hall, Los Angeles, Calif. 90095, mathur@ucla.edu].Lisa PonLisa Pon is associate professor at Southern Methodist University. Author of Raphael, Dürer, and Marcantonio Raimondi: Copying and the Italian Renaissance Print (Yale University Press, 2004), she is completing two books, Art, Icon, Print: Forlì's Madonna of the Fire and Raphael and the Italian Renaissance: Theorizing Artistic Collaboration [Department of Art History, Southern Methodist University, PO Box 750356, Dallas, Tex. 75275, lpon@smu.edu].Iain Boyd WhyteIain Boyd Whyte is professor of architectural history at the University of Edinburgh and has written extensively on architectural modernism and twentieth-century German art. Recent publications include Beyond the Finite: The Sublime in Art and Science (2011). He is also editor of the electronic journal Art in Translation [Edinburgh School of Architecture and Landscape Architecture, 20 Chambers Street, Edinburgh EH1 1JZ, Scotland, U.K., i.b.whyte@ed.ac.uk].

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsEric RosenbergEric Rosenberg is associate professor of art history and chair of the Department of Art and Art History at Tufts University. He recently co-edited with Lisa Saltzman of Bryn Mawr University Trauma and Visuality in Modernity (University Press of New England, 2006) [Department of Art and Art History, Tufts University, 11 Talbot Avenue, Medford, Mass. 02155, eric.rosenberg@tufts.edu].

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsSusan HillerAmerican-born Susan Hiller lives in London, where she began her artistic career in the early 1970s. Her commitment to exploring “the unconscious” of our culture is often cited as a major influence on younger artists. She works in a broad range of media and exhibits and publishes internationally [www.susanhiller.org].Spike BucklowSpike Bucklow trained as a chemist, made puppets for the film industry, and is now a conservation scientist. He teaches and undertakes research, mainly on old master paintings, at the Hamilton Kerr Institute. His follow-up to The Alchemy of Paint has the working title The Riddle of the Image [Hamilton Kerr Institute, University of Cambridge, Whittlesford CB22 4NE, U.K., sb10029.cam.ac.uk].Johannes EndresJohannes Endres is visiting associate professor of German at Vanderbilt University. He works on German and European literature in an interdisciplinary perspective. Recent publications are on topoi and metaphors in art, culture, and science; concepts of similarity and resemblance; discourses on generation and inheritance; cultural theories and practices of fetishism [Department of Germanic and Slavic Languages, Vanderbilt University, 2301 Vanderbilt Place, Nashville, Tenn. 37235–1567, johannes.endres@vanderbilt.edu].Carlo GinzburgCarlo Ginzburg, now retired, taught at Bologna, the University of California, Los Angeles, and the Scuola Normale Superiore, Pisa. His books include The Night Battles; The Cheese and the Worms; The Enigma of Piero; Clues, Myths, and the Historical Method; Wooden Eyes; History, Rhetoric, and Proof; and Threads and Traces [Piazza San Martino 1, 40126 Bologna, Italy, ginzburg@history.ucla.edu].Joan KeeJoan Kee is the author of The Urgency of Method: Tansaekhwa and Contemporary Korean Art (2013), the editor of Intersections: Issues in Contemporary Asian Art (2004), and the co-editor of Contemporaneity and Art in Southeast Asia (2011). She teaches modern and contemporary Asian art at the University of Michigan [Department of the History of Art, University of Michigan, Ann Arbor, Mich. 48109, jkee@umich.edu].Spyros PapapetrosSpyros Papapetros is an associate professor of theory and historiography at Princeton University. He is the author of On the Animation of the Inorganic: Art, Architecture, and the Extension of Life (University of Chicago Press, 2012) and the editor of Space as Membrane by Siegfried Ebeling (AA Publications, 2010) [School of Architecture, S-110 Architecture Building, Princeton University, Princeton, N.J. 08544, spapapet@princeton.edu].Adrian RifkinAdrian Rifkin is professor of art writing in the Department of Art, Goldsmiths, London [Department of Art, Goldsmiths, London SE14 6NW, U.K., www.gai-savoir.net].Joanna RocheJoanna Roche, professor of art history at California State University, Fullerton, investigates contemporary artists with a focus on memory and process. She recently published Tyrannical Angels and Other Love Poems (2011). Roche received the 2002 Art Journal Award from the College Art Association [Department of Visual Arts, California State University, Fullerton, 800 North State College Boulevard, Fullerton, Calif. 92831, jroche@fullerton.edu].Nina RoweNina Rowe is associate professor of art history at Fordham University. Her publications include The Jew, the Cathedral, and the Medieval City: Synagoga and Ecclesia in the Thirteenth Century (Cambridge, 2011) and (as editor) Medieval Art History Today—Critical Terms, special issue of Studies in Iconography 33 (2012) [Department of Art History and Music, Fordham University, FMH 417A, 441 East Fordham Road, Bronx, N.Y. 10458, nrowe@fordham.edu].Alain SchnappAlain Schnapp is professor of classical archaeology at the University of Paris (Panthéon-Sorbonne), specializing in Greek iconography and the cultural history of antiquity. Alongside numerous visiting professorships, he was the first director of the Institut National d'Histoire l'Art and coordinator of the European cultural project Archives of European Archaeology [Université de Paris I/INHA, 2 Rue Vivienne, 75002 Paris, France].Blake StimsonBlake Stimson teaches contemporary art, the history of photography, and critical theory at the University of Illinois, Chicago. He is the author of The Pivot of the World: Photography and Its Nation (MIT Press, 2006) and Citizen Warhol (forthcoming from Reaktion Books) [Department of Art History, m/c 201, Henry Hall 302A, 935 West Harrison, Chicago, Ill. 60607].Robert WilliamsRobert Williams, professor of the history of art at the University of California, Santa Barbara, is the author of Art, Theory, and Culture in Sixteenth-Century Italy (Cambridge, 1997) and Art Theory: An Historical Introduction (Blackwell, 2004; Wiley Blackwell, 2008). With James Elkins he edited Renaissance Theory (Routledge, 2006) [Department of the History of Art and Architecture, University of California, Santa Barbara, Santa Barbara, Calif. 93106, robertw@arthistory.ucsb.edu].

Curator: The Museum JournalVolume 52, Issue 1 p. 13-33 A Prehistory of the Detroit Institute of Arts Reinstallation Jeffrey Abt, Jeffrey Abt (j_abt@wayne.edu) is associate professor in the Department of Art and Art History, 150 Art Building, Wayne State University, Detroit, Michigan 48202.Search for more papers by this author Jeffrey Abt, Jeffrey Abt (j_abt@wayne.edu) is associate professor in the Department of Art and Art History, 150 Art Building, Wayne State University, Detroit, Michigan 48202.Search for more papers by this author First published: 15 January 2010 https://doi.org/10.1111/j.2151-6952.2009.tb00330.x AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinked InRedditWechat Volume52, Issue1January 2009Pages 13-33 RelatedInformation

Click to increase image sizeClick to decrease image size Notes Theresa Harlan, ‘As in Her Vision: Native American Women Photographers’, in Reframings: New American Feminist Photographies, ed Diane Neumaier, Temple University Press, Philadelphia, 1995; Lucy Lippard, ‘Independent Identities’, in Native American Art in the Twentieth Century, ed W Jackson Rushing, New Press, New York, 1999. Jacques Lacan, ‘The Mirror Stage as Formative Function of the I’, in Écrits: A Selection, New York, Norton, 1977; Frantz Fanon, Black Skins White Masks, Grove Press, New York, 1967; Judith Butler, Bodies that Matter: On the Discursive Limits of Sex, Routledge, New York, 1993. Jolene Rickard was a Gale Memorial guest lecturer at the Department of Art and Art History, University of New Mexico, spring 2000. Besides her lecture, she additionally participated in a smaller art history class discussion on her own work and on other Native American photographers. I am attributing comments to the artist based on my notes from this class presentation. Lucy Lippard, ‘Independent Identities’, opcit, p 145. Theresa Harlan, ‘As in Her Vision’, op cit, p 117. Laurence Hauptman, The Iroquois and the New Deal, Syracuse, Syracuse University Press, New York, 1981, pp 146–54; Carol Cornelius, Oneida/Mahican, Iroquois Corn In a Culture‐Based Curriculum, State University of New York Press, Albany, 1999, pp 164–7; Sylvia Kasprycki, ed, Irokesen Art/Iroquois Art: Visual Expressions of Contemporary Native American Artists, exhibition catalogue, Altenstadt, Germany, European Review of Native American Studies, 1998, p 89. Class discussion with the artist, a graduate seminar on Modern Native American Art, Department of Art and Art History, University of New Mexico, 6 March 2000. Michelle Dean Stock, ‘Traditional Roles of Iroquois Women’, in Iroquois Voices, Iroquois Visions: A Celebration of Contemporary Six Nations Arts, ed Bertha Rogers, Treadwell, Bright Hill Press, New York, 1996, p111. Maori scholar Linda Tuhiwai Smith used Fanon’s insights, among those of other theorists, on Africans and African‐Americans to outline the theoretical dilemmas facing indigenous peoples as they approach issues of colonialism and writing history in her recent book Decolonizing Methodologies: Research and Indigenous Peoples, Zed Books, New York, 1999. This book is now being used by many Native Americans and First Nations Peoples, including Rickard herself, to confront the relationships in their communities between colonialism, identity, and knowledge. Jolene Rickard, ‘Cew Ete Haw I Tih: The Bird That Carries Language Back to Another’, in Partial Recall, ed Lucy Lippard, New Press, New York, 1992, p109. Ibid, p 110. Ruth Phillips, Trading Identities: The Souvenir in Native North American Art from the Northeast, 1700–1900, Seattle, University of Washington Press, 1998, p 32. Theresa Harlan, ‘As in Her Vision’, op cit, pp 114–15. Class discussion, op cit. Ibid. Nora Noranjo‐Morse, ‘Pearline’, in Mud Woman: Poems from the Clay, University of Arizona Press, Tucson, 1992. Beverly Gordon, The Niagara Falls Whimsey: The Object as a Symbol of Cultural Interface, PhD Dissertation, University of Wisconsin – Madison, 1984, p 266. Ibid, p 223. Ibid, p 230. Ibid, p 308. Jolene Rickard, ‘Cew Ete Haw I Tih’, op cit, p 109. Ibid, p 108. Diane Neumaier, ed, Reframings: New American Feminist Photographies, Philadelphia, Temple University Press, 1995. This reading is counter to that of Native critic Paul Chaat‐Smith whose essay for the Reservation X catalogue confidently asserts that Rickard’s installation is a Longhouse and represents a ‘Tuscaroran community, surrounded by powerful dams and electrical generating stations, and its fight for cultural survival’. Paul Chaat‐Smith, ‘Unplugging the Hologram’, in Reservation X, ed Gerald McMaster, University of Washington Press, Seattle, 1998, p 125. Edmund Wilson, Apologies to the Iroquois, Farrer, Straus and Cudahy, New York, 1959, pp 145–6. Susan Prezzano, ‘Warfare, Women, and Households: The Development of Iroquois Culture’, in Women in Prehistory: North America and Mesoamerica, eds Cheryl Claasen and Rosemary A Joyce, University of Pennsylvania Press, Philadelphia, 1997, p 20.

October 01 2019 The "Books of Houses" and their Architects: Surveying Property in Sixteenth-Century Rome Carla Keyvanian Carla Keyvanian Caria Keyvanian is a visiting assistant professor in the Department of Art and Art History at the University of Connecticut. Search for other works by this author on: This Site Google Scholar Author and Article Information Carla Keyvanian Caria Keyvanian is a visiting assistant professor in the Department of Art and Art History at the University of Connecticut. Online Issn: 2572-7338 Print Issn: 1091-711X © 2005 Caria Keyvanian2005Caria Keyvanian Thresholds (2005) (28): 17–22. https://doi.org/10.1162/thld_a_00317 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Carla Keyvanian; The "Books of Houses" and their Architects: Surveying Property in Sixteenth-Century Rome. Thresholds 2005; (28): 17–22. doi: https://doi.org/10.1162/thld_a_00317 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsThresholds Search Advanced Search This content is only available as a PDF. © 2005 Caria Keyvanian2005Caria Keyvanian Article PDF first page preview Close Modal You do not currently have access to this content.

The article describes the main stages of development of the Department of Philosophy: organization and reorganization from June 21, 1961 from the Department of History of the CPSU and Dialectical and Historical Materialism to the Department of Philosophy and Art History of the current Baikal State University. The article mentions the staff, tells about their contribution to research, teaching and public activities. Key indicators of publication activity are given – teaching aids and dissertation research, a range of research topics of the department is provided. The high level of the department's degree holders in the fields of philosophy and philosophy is emphasized. The current faculty of the department of philosophy and art history is also presented, and the specifics of its educational tasks are reflected. The purpose of the article is to preserve in social memory the role of the department of philosophy and art history of BSU and its representatives in the development of higher education.

This article presents some research projects that have been conducted in recent years with the aim of investigating stucco decoration beyond its formal components, analyzing the fundamental role of technique within artistic expression. In 2015, the team at the University of Applied Arts and Sciences of Southern Switzerland (SUPSI) started to work on ‘The Art and Industry of Ticinese Stucco Artists from the Sixteenth to the Seventeenth Century’ to analyze the artistic process through which different stucco artists from southern Switzerland created important works of art in their homeland. An interdisciplinary working method was established allowing participants to study stucco decoration in a more comprehensive way. This project was followed in 2021 by ‘Resta di stucco’ or ‘Left in Amazement’, an initiative aimed at communicating with the wider public on this heritage that is little valued by local residents. Finally, in 2023, the international Erasmus+ project ‘Stucco Decoration across Europe’, led by the Department of Art History at Palacký University in Olomouc, offered the opportunity to create an interdisciplinary network of specialists ready to understand and preserve stucco decorations. The partners will share their interdisciplinary know-how gained through practice and university lectures to train a new generation of specialists in order to break down the sense of isolation currently felt in the field and to preserve this common European cultural heritage.

Traditionally, art history is a discipline focusing on the developments of Western art and architecture. It is time, however, to broaden our perspective. The world is changing, art is changing, somutatis mutandis is art history. This does not happen on its own accord. Art history needs rewriting and art historians have to do it. We need to take a critical look at our premises and points of departure, and we need to change the art historical curricula at universities and art schools. At Leiden University, the Netherlands, the Department of Art History has opted for a new orientation and decided to study the history of art from a global perspective. This means that students will meet with three lines of approach to the visual art and material culture from regions other than the West. Firstly, they are introduced to the art and material culture of Asian, African, and Amerindian civilizations by colleagues from those fields, which Leiden is so fortunate to have. The Faculty of Arts at Leiden University, houses a wide variety of language and culture studies of the world. The second approach focuses on interactions, mutual influences, and interculturalization processes in art and culture. And the third addresses methodical-theoretical reflection on art history in a global perspective. The aim here is to formulate a theoretical framework for the study of art worldwide, thereby pursuing ‘comparative art history’. In order to achieve these perspectives, exchanging ideas and concepts with anthropologists can be very productive.

Other| June 01 2021 Accreditation Requirements and the Global History of Architecture Kathleen James-Chakraborty Kathleen James-Chakraborty University College Dublin Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2021) 80 (2): 136–139. https://doi.org/10.1525/jsah.2021.80.2.136 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Kathleen James-Chakraborty; Accreditation Requirements and the Global History of Architecture. Journal of the Society of Architectural Historians 1 June 2021; 80 (2): 136–139. doi: https://doi.org/10.1525/jsah.2021.80.2.136 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of the Society of Architectural Historians Search Much has changed in our discipline in the last quarter century. In 1995, when the Society of Architectural Historians last held its annual conference in Seattle, a much higher proportion of its members had been trained and subsequently taught in art history departments than is the case today, when more have backgrounds in architecture and teach in schools of architecture. Another obvious shift can be seen in the locations of the architecture we study. Of the 183 papers originally scheduled to be presented at the SAH 2020 conference in Seattle, roughly a quarter focused on the architecture of the Caribbean, Latin America, Africa, Asia, and even Antarctica. That count does not include any of the papers that addressed the architecture of ethnic minorities both in Europe and in the English-speaking world, or that focused on the teaching of architectural history. Of the 111 papers listed in the program for the... You do not currently have access to this content.

Notes on Contributors

About the Authors

Notes on Contributors

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsLinda ConnorLinda Connor, professor at the San Francisco Art Institute and founder of PhotoAlliance, has had her photographs exhibited nationally and internationally. Her book Odyssey: The Photographs of Linda Connor was published in 2008. Among other honors, she received the Society of Photographic Education's Honored Educator Award in 2005 [San Francisco Art Institute, 800 Chestnut Street, San Francisco, Calif. 94133, Lindaconnor@earthlink.net].Giovanna BorradoriGiovanna Borradori is professor of philosophy at Vassar College. She is a specialist of Continental philosophy, the aesthetics of architecture, and the philosophy of terrorism. Her last book, Philosophy in a Time of Terror: Dialogues with Jürgen Habermas and Jacques Derrida, was a “philosophy best-seller,” which appeared in eighteen languages [Department of Philosophy, Vassar College, Poughkeepsie, N.Y. 12604].Marcia BrennanMarcia Brennan, associate professor of art history and religious studies at Rice University, teaches courses on modern art, mysticism, and the medical humanities. She is the author of several books, including Curating Consciousness: Mysticism and the Modern Museum, and a forthcoming study on the visual culture of the end of life [Department of Religious Studies, MS 15, Rice University, PO Box 1892, Houston, Tex. 77251–1892, mbrennan@rice.edu].Mary Ann DoaneMary Ann Doane is Class of 1937 Professor at the University of California, Berkeley. She is the author of The Emergence of Cinematic Time, Femmes Fatales, and The Desire to Desire. In 2007, she edited a special issue of Differences: A Journal of Feminist Cultural Studies, “Indexicality: Trace and Sign” [Department of Film & Media, University of California, Berkeley, 6216 Dwinelle Hall, no. 2670, Berkeley, Calif. 94720–2670].Angus FletcherAngus Fletcher is Distinguished Professor Emeritus of English and Comparative Literature at the Graduate Center, CUNY (City University of New York). His books include A New Theory for American Poetry; Time, Space, and Motion in the Age of Shakespeare; and a newly expanded edition of his Allegory (Princeton University Press) [The Graduate Center, CUNY, 365 Fifth Avenue, New York, N.Y. 10016].Peter GeimerPeter Geimer is professor of art history at the Freie Universität Berlin. His publications in English include “Picturing the Black Box: On Blanks in 19th Century Paintings and Photographs,” Science in Context (2004) and “Image as Trace: Speculations about an Undead Paradigm,” Differences: A Journal of Feminist Cultural Studies (2007) [Freie Universität Berlin, Kunsthistorisches Institut, Koserstrasse 20, 14195 Berlin, Germany, peter.geimer@fu-berlin.de].Gloria KuryGloria Kury, PhD, is director of Gutenberg Periscope Publishing. Before serving as executive editor of arts and humanities at Penn State University Press from 1999 to 2006, she taught art history at Vassar College, New York University, and Yale University [Periscope Publishing, Ltd, 150 West Hutchinson Avenue Cottage, Pittsburgh, Pa. 15218, gjkury@gmail.com].Mark LedburyMark Ledbury is Power Professor of Art History and Visual Culture and director of the Power Institute at the University of Sydney. The author of books and articles on eighteenth- and early nineteenth-century French art, he is currently completing his latest project, “An Eccentric History of History Painting” [Department of Art History and Film Studies, University of Sydney, Sydney NSW 2006, Australia, mark.ledbury@sydney.edu.au].C. Brian RoseC. Brian Rose is James B. Pritchard Professor of Mediterranean Archaeology in the Department of Classical Studies, University of Pennsylvania, and curator-in-charge of the Mediterranean Section of the Penn Museum. He was an academic trustee (1994–2000), first vice-president (2002–6), and president (2007–11) of the Archaeological Institute of America [Mediterranean Section, Penn Museum, 3260 South Street, Philadelphia, Pa. 19104, roseb@sas.upenn.edu].Frances SpaldingFrances Spalding is an art historian, critic, and biographer. Her books include British Art since 1900, a centenary history of the Tate, and lives of Roger Fry, Vanessa Bell, and Stevie Smith. She is Fellow of the Royal Society of Literature and Honorary Fellow of the Royal College of Art [Department of History of Art, Newcastle University, Newcastle upon Tyne, NE1 7RU, U.K., Frances.spalding@ncl.ac.uk].Chris SpringChris Spring is an artist and a curator of the African Galleries, the British Museum. Among his publications are Angaza Afrika: African Art Now (2008), African Art in Detail (2009), and African Textiles Today (2012). His work in Africa included support for Triangle artists' workshops in Mozambique, Ghana, and Nigeria [Department of Africa, Oceania and the Americas, the British Museum, London WC1B 3DG, U.K., cspring@thebritishmuseum.ac.uk].

June 01 2007 Léon de Sousberghe, S.J.: 1903–2006 Z.S. Strother Z.S. Strother Z.S. Strother is professor of African art history in the Department of Art History and Archaeology at Columbia University and author of Inventing Masks: Agency and History in the Art of the Central Pende (1998). Search for other works by this author on: This Site Google Scholar Author and Article Information Z.S. Strother Z.S. Strother is professor of African art history in the Department of Art History and Archaeology at Columbia University and author of Inventing Masks: Agency and History in the Art of the Central Pende (1998). Online ISSN: 1937-2108 Print ISSN: 0001-9933 © 2007 by the Regents of the University of California.2007 African Arts (2007) 40 (2): 8–11. https://doi.org/10.1162/afar.2007.40.2.8 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Z.S. Strother; Léon de Sousberghe, S.J.: 1903–2006. African Arts 2007; 40 (2): 8–11. doi: https://doi.org/10.1162/afar.2007.40.2.8 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsAfrican Arts Search Advanced Search This content is only available as a PDF. © 2007 by the Regents of the University of California.2007 Article PDF first page preview Close Modal You do not currently have access to this content.