April 18, 2018

Williamstown, Massachusetts—The Research and Academic Program of the Clark Art Institute marks the twentieth year of its fellowship program in 2018, welcoming a distinguished group of eleven international scholars to its Williamstown campus during the upcoming academic year. In addition to the research fellows, the Clark will host a summer program that will bring six scholars and curators to Williamstown as part of its innovative model of hosting collaborative working groups.
“We are delighted to have such a diverse and vibrant group of Clark Fellows joining us during a year that marks a significant milestone for our program,” said Lisa Saltzman, Starr Director of the Research and Academic Program (RAP).
The Clark is one of only a handful of institutions globally with a dual mission as an art museum and a distinguished center for research and higher education, dedicated to advancing and extending the public understanding of art. Clark Fellowships, ranging in duration from one to ten months, are awarded to scholars, critics, curators, and museum professionals each year. These residential fellowships are offered to established and promising scholars with the aim of fostering a critical commitment to inquiry in the theory, history, and interpretation of art and visual culture. In addition to providing an opportunity for sustained research for fellows, the Clark encourages them to participate in a variety of collaborative and public discussions on diverse art historical topics as well as on larger questions and motivations that shape the practice of art history.
Since its inception, the Clark Fellowship program has hosted more than 300 scholars from across the globe. The highly competitive program regularly draws a large and notable pool of applicants, representing leaders and innovative thinkers in the field. Applications for the 2019–20 academic year will be accepted through October 15, 2018; visit for details.
Clark Fellows for 2018–19:
Jennifer Bajorek teaches in the School of Humanities, Arts, and Cultural Studies at Hampshire College and is a research associate of the VIAD Research Centre at the University of Johannesburg. She writes on and researches literature, philosophical aesthetics, and photography. Her most recent book, Unfixed: Photography and Decolonial Imagination in West Africa, is forthcoming from Duke University Press. At the Clark, she will be working on a new project exploring artistic, visual, and political strategies in the representation of migration in contemporary France. (Spring 2019)
Doron Bauer, Center for Spain in America Fellow, is an assistant professor of medieval and Islamic art history at Florida State University. He is the author of Romanesque Sculpture: Towards an Anti-Iconography (Madrid: La Ergástula, forthcoming) and Art in the Kingdom of Majorca: An Anthology of Sources (Edicions Universitat de les Illes Balears, forthcoming). At the Clark, he is working on Cities Upon Cities: The Reconquista and the Colonization of the Aesthetic, a book that examines the Occidentalization-Christianization of Islamic cities in Iberia and Africa after the Christian conquest as manifested in changes to the cities’ public monuments, private spaces, urban fabric, and material culture. (Fall 2018)

Gülru Çakmak, Florence Gould Foundation Fellow, is an Associate Professor in the Department of the History of Art & Architecture at the University of Massachusetts Amherst, and the author of Jean-Léon Gérôme and the Crisis of History Painting in the 1850s (Liverpool University Press, 2017). At the Clark, she will work on her next book project Materiality, Process, and Facture in English and French Sculpture at the End of the Nineteenth Century, drawing on the research she has conducted as a Research Fellow at the Henry Moore Institute and as a Visiting Scholar at the Yale Center for British Art. While at the Clark, she will also work on an article on Gérôme’s Snake Charmer. (Fall 2018)

Jill H. Casid, Clark/Oakley Humanities Fellow, is Professor of Visual Studies in the Departments of Art History and Gender and Women’s Studies at the University of Wisconsin-Madison. Since the publication of Sowing Empire: Landscape and Colonization (Minnesota, 2005), which received the College Art Association’s Millard Meiss award, she continues to write on postcolonial, queer, and feminist approaches to landscape while pursuing work on the materializing effects of imaging with Scenes of Projection: Recasting the Enlightenment Subject (Minnesota, 2015) and approaches to the global with Art History in the Wake of the Global Turn (Yale, 2014), which she co-edited with Aruna D’Souza from the Clark Conference convened in 2011. At the Clark, she will be completing Necrolandscaping, the first part of a two-book project on Form at the Edges of Life. (Fall 2018 and Spring 2019)

Kris Cohen, Mellon Network Fellow, is Associate Professor of Art and Humanities at Reed College. He works on the relationships among art, economy, and media technologies, focusing especially on the aesthetics of collective life. His first book, Never Alone, Except for Now (Duke University Press, Fall 2017), addresses these concerns in the context of electronic networks. At the Clark, he will be working on a new manuscript that accounts for how a group of Black artists working from the sixties to the present were addressing, in ways both belied and surprisingly revealed by the language of abstraction and conceptualism, nascent configurations of the computer screen and the forms of labor and personhood associated with those configurations. (Spring 2019)

Beatriz Colomina, Holly Fellow, is Professor of Architecture and Director of the Media and Modernity program at Princeton University. Her books include Are We Human? Notes on an Archeology of Design (2016), The Century of the Bed (2015), Manifesto Architecture: The Ghost of Mies (2014), Clip/Stamp/Fold: The Radical Architecture of Little Magazines 196X-197X (2010), Domesticity at War (2007), Privacy and Publicity: Modern Architecture as Mass Media (1994), and Sexuality and Space (1992). She has curated the exhibitions Clip/Stamp/Fold (2006), Playboy Architecture (2012) and Radical Pedagogies (2014) and the Istanbul Design Biennial (2016). At the Clark, she will be working on the question of collaboration. (Fall 2018)

Philippe Cordez, Mellon Decade Fellow, is Deputy Director of the German Center for Art History in Paris. Primarily a medievalist, he previously led a research group on object studies in art history at the Ludwig-Maximilian University of Munich (2013–18). Cordez’s book on medieval church objects––investigating notions of treasure, memory and wonder––was published in German and French in 2015 and 2016, respectively. At the Clark, he will work on nineteenth-century publications of historical and ethnographic objects, seeking to understand how they shaped the modern—and still so influential—concepts of ‘decorative arts,’ ‘objets d’art,’ and ‘Kunstgewerbe.’ (Spring 2019)
Frédéric Ogée, Kress Fellow in the Literature of Art before the Age of Art History, is Professor of British Literature and Art History at Université Paris Diderot. His main period of research is the long eighteenth-century, and his publications include two collections of essays on William Hogarth, as well as ‘Better in France’? The circulation of ideas across the Channel in the 18th century (Lewisburg, 2005), Diderot and European Culture (Oxford, 2006), and J.M.W. Turner, Les Paysages absolus (Paris, 2010). In 2006–07, he co-curated the first-ever exhibition on Hogarth for the Louvre. In 2014–17 he was a member of Tate Britain’s Advisory Council. He is currently preparing a book and exhibition on Thomas Lawrence for 2019. (Fall 2018)
Celeste Olalquiaga is a cultural historian dedicated to the contradictions and leftovers of modernity. Her books, Megalopolis (1992) and The Artificial Kingdom (1998), have been translated to several languages, and she is the recipient of Guggenheim and Rockefeller awards. In 2013 she founded Proyecto Helicoide, dedicated to rescuing the cultural memory of a futuristic ruin in Caracas, producing exhibitions there and in New York, and co-editing Downward Spiral: El Helicoide’s Descent from Mall to Prison (2018). At the Clark, she will work on a re-reading of the myth of Medusa that focuses on its origins in the Gorgon and the evil eye. (Spring 2019)
Susan Sidlauskas teaches the history and theory of Modern Art at Rutgers University, where she also co-directs a research seminar on the Medical Humanities at the Center for Cultural Analysis.  She is at work on a study of the medical portrait: Anglo-American patients’ photographs, c. 1885–1945, and the author of Body, Place and Self in Nineteenth-Century Painting, Cézanne’s Other: The Portraits of Hortense, winner of the Robert Motherwell Book Prize from the Dedalus Foundation, and Striking Resemblance, with Donna Gustafson. She was a Guggenheim Fellow in 2014. At the Clark, she intends to complete her book, John Singer Sargent and the Physics of Touch. (Spring 2019)
Mark Wigley, Beinecke Fellow, is Professor of Architecture at Columbia University. The historian and theorist explores the intersection of architecture, art, philosophy, culture, and technology. His books include: Derrida’s Haunt: The Architecture of Deconstruction; White Walls, Designer Dresses: The Fashioning of Modern Architecture; Constant’s New Babylon: The Hyper-Architecture of Desire; and Buckminster Fuller Inc.: Architecture in the Age of Radio. He is the co-author of Are We Human? Notes on an Archeology of Design with Beatriz Colomina in association with their curation of the third Istanbul Design Biennial. He has also curated exhibitions at The Museum of Modern Art and The Drawing Center in New York, the Witte de With and Het Nieuwe Instituut in Rotterdam, and the Canadian Centre for Architecture in Montreal. His latest book is Cutting Matta-Clark: The Anarchitecture Investigation (Lars Müller, 2018). During his Clark Fellowship he will complete the monographic study “Prosthetic Ikons: The Expanding Architecture of John McHale.”  (Fall 2018)
Clark Fellows participating in summer collaborative working groups:
Lisa Crossman, Ph.D., is Curator at the Fitchburg Art Museum where she has organized exhibitions, including Fantastical, Political and People Watching: Then and Now. She also recently organized Made Masculine (University of New Hampshire’s Museum of Art, 2017). In a summer working group at the Clark, she will continue research and development of an exhibition that will focus on perspectives of death and the spirit world, connecting to broader ideas of spiritualism and regional utopian practice. It will examine themes that may include memorials, landscape and mortality, apparitions, and the occult through the work of contemporary New England artists. (Summer 2018)
Shana Dumont Garr is the Curator at Fruitlands Museum, now part of The Trustees of Reservations, where she has organized exhibitions including Literary Soil: Greg Lookerse, and Inhabiting Folk Portraits, opening in April 2018. Her previous positions include the Director of Programs and Exhibitions at Artspace in Raleigh, North Carolina, where she curated several contemporary art exhibitions including Redefining Ritual. She is part of a summer working group at the Clark, contributing to the publication Visionary New England and curating the exhibition Recruiting for Utopia, which examines the influence of a range of nineteenth-century spiritualist broadsides and prints from Fruitlands Museum’s collection. (Summer 2018)

Carla Macchiavello is Assistant Professor in Art History at the Borough of Manhattan Community College, CUNY, New York. Her work centers on Latin American Contemporary art with a focus on Chilean art, networks of solidarity and resistance, video art, and the relationships among art, politics, and performative practices. She has published articles on the works of Cecilia Vicuña, Juan Downey, Francisca Benítez, Carolina Saquel, and Elkin Calderón, among others. Her book, Marcando el territorio: gráfica conceptual, performance y video arte chileno, forthcoming from Metales Pesados (2018), focuses on conceptual art practices and territorial discourses in Chile from 1975–1985. At the Clark, as part of the summer working group led by Soledad García Saavedra, she will collaborate on the creation of the conceptual framework for a book on Chilean Pop Art and its relations to the “popular” in Chile during the 1960s. (Summer 2018)

Josefina de la Maza is an independent researcher based between Mexico City and Santiago de Chile. Her academic interests revolve around the development of Chilean and Latin American art of the nineteenth and twentieth centuries, the emergence of fine-art academies and museums, the links between crafts and fine arts, and textile art. She has been a fellow of the Coimbra Foundation, the Social Sciences Research Council, the Fulbright Foundation, FONDART, and CONICYT. Her latest book is De obras maestras y mamarrachos: notas para una historia del arte del siglo XIX chileno (2014). At the Clark, she will be working with colleagues Soledad García Saavedra and Carla Macchiavello on the book project Reimagining the 1960s: Pop and the popular in revolutionary Chile. (Summer 2018)
Sarah Montross, Ph.D., is Associate Curator at deCordova Sculpture Park and Museum, and has organized exhibitions including Screens: Virtual Material and Cool Medium: Art, Television, & Psychedelia, 1960–1980. Prior to deCordova, Montross worked at the Bowdoin College Museum of Art where she organized shows and publications including Past Futures: Science Fiction, Space Travel, and Postwar Art of the Americas (MIT Press, 2016). She will lead one of two working groups at the Clark this summer as they prepare Visionary New England, an exhibition and publication that examines the legacy of visionary, spiritualist, and utopian practices in the region and their impact on contemporary artists. (Summer 2018)  
Soledad García Saavedra is an art historian, editor, and the curator of public programs at the Museo de la Solidaridad Salvador Allende (MSSA) in Santiago de Chile. She was previously the Head of the Visual Arts Documentation Centre of the Centro Cultural Palacio La Moneda. Among her recent curatorial and editorial projects are Magic Block (Errant Bodies, 2015) and shows on the resonances of the critical pop culture in South America at the MSSA. At the Clark, she will lead a summer working group working on initiating research on the discussions between Pop and the popular in the 1960s in Chile for the preparation of a new book. (Summer 2018) 
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