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Interdisciplinary artist Miya Ando reimagines the year 2023 not in days, but in flowers depicting the 72 seasons of the nature-based ancient Japanese system of time-telling. The installation comes to life through 72 chiffon banners suspended in the Winter Garden at Brookfield Place.
What if we measured time not in months, days, and hours, but in flowers? Flower Atlas, by Japanese and American artist Miya Ando, imagines such a world, representing 2023 in the form of 365 signature flowers in bloom each day somewhere on Earth. Soaring above visitors, the 72 banners create a moveable feast of tactile, temporal imagery. The installation allows guests to pinpoint dates by flower and season, in the process attuning them to the impermanence and interconnectedness of all living systems.
Ando’s work presents physical articulations of her contemplation of the cycles of nature and the passage of time, in which concept, image, and materials fuse to create totemic objects. Taking as their subject the fleeting phenomena of seasons, day, night, clouds, and tides, her sculptural work is rendered in ink, pigment, micronized silver, gold, mica, oil, or resin, effectively harnessing materials of permanence to express notions of transience.
To learn more about her artwork, click on the link:
Das Collegium Polonicum ist eine Gemeinschaftseinrichtung der Adam-Mickiewicz-Universität in Posen und der Europa-Universität Viadrina in Frankfurt (Oder) für interdisziplinäre wissenschaftliche Forschung und Lehre zu deutsch-polnischen, europäischen, interkulturellen und Grenzraum-Thematiken
Hier auch gut zu sehen , der Hahn im Stadtwappen.
The Collegium Polonicum is a joint institution of the Adam Mickiewicz University in Poznań and the European University Viadrina in Frankfurt (Oder) for interdisciplinary scientific research and teaching on German-Polish, European, intercultural and border region issues.
The rooster in the city's coat of arms can also be clearly seen here.
The Kenwood Interdisciplinary Research Complex, which opened in 2015, is an award-winning, green-certified building that houses the Milwaukee Institute for Drug Discovery. It also provides space for research projects in areas such as STEM, public health, freshwater sciences, physics and chemistry. Several classrooms and faculty offices also are here.
Largo Carlo Goldoni, 420, 00187 Roma RM, Italy
Excited to share that my Fendi shot is featured in "Architecture Meets Fashion" by Marsilio Arte! Huge thanks to Professors Alessandra Capanna and Leone Spita for including my work in their exploration of the fascinating connection between fashion and architecture.
Book Details:
Title: Architecture Meets Fashion
Authors: Alessandra Capanna and Leone Spita
Publisher: Marsilio Arte
Publication Date: December 2024
About the Book: This insightful book delves into how fashion and architecture influence each other, reflecting social and cultural identities. It includes historical essays, interviews, and interdisciplinary projects. Additionally, it features maps of major fashion cities and a special section on AI-assisted exploration of future fashion retail spaces.
Across his interdisciplinary practice, on Ritter navigates the convergence of Aesthetics, ethics and digital media. His astute social observations take centre stage in this work – a critique of the art world’s systems governing value, privilege and taste. Playfully challenging its norms and pretenses, Ritter invites us to reconsider our assumptions and come to our own conclusions about the merit of an artwork.
Lavar Munroe is an interdisciplinary artist whose work encompasses painting, drawing, sculpture, installation art, and a hybrid medium that straddles the line between sculpture and painting.
Munroe was born in Nassau, the Bahamas where he lived in community of Grants Town until 2004. In his youth he was challenged by the many stigmas and stereotypes associated with that community: a world of gang violence, drugs murder. Today his work reflects on the environment of his upbringing as he maps a personal journey of trauma and survival overcoming obstacles through self-determination, self-discovery and personal development. Though his creative work is inspired by the past, Munroe’s loud, energetic and unapologetic visual language confronts contemporary society and strained and difficult relationships between formal authority and the people of the ghetto.
Gharfa, the experiential pavilion installation presented by Studio Studio Studio, the new interdisciplinary lab founded by Edoardo Tresoldi.
The installation is part of the temporary creative project "Diriyah Oasis", designed and curated by Dubai-based studio Designlab Experience and located in Riyadh, Saudi Arabia.
© Roberto Conte (2019)
The pioneering interdisciplinary art collective teamLab has opened the world’s first digital art museum in Tokyo. Called the Mori Building Digital Art Museum: teamLab Borderless, the 107,000 square foot venue features 50 hyper-colored digital works which immerse visitors in wild and whimsical worlds that are actually responsive to the movements of visitors.
The artwork is powered by more than 520 computers and 470 projectors and constantly changes so each time you return to a room, it's essentially a new piece. This place was so surreal.
Lavar Munroe is an interdisciplinary artist whose work encompasses painting, drawing, sculpture, installation art, and a hybrid medium that straddles the line between sculpture and painting.
Munroe was born in Nassau, the Bahamas where he lived in community of Grants Town until 2004. In his youth he was challenged by the many stigmas and stereotypes associated with that community: a world of gang violence, drugs murder. Today his work reflects on the environment of his upbringing as he maps a personal journey of trauma and survival overcoming obstacles through self-determination, self-discovery and personal development. Though his creative work is inspired by the past, Munroe’s loud, energetic and unapologetic visual language confronts contemporary society and strained and difficult relationships between formal authority and the people of the ghetto.
Lavar Munroe is an interdisciplinary artist whose work encompasses painting, drawing, sculpture, installation art, and a hybrid medium that straddles the line between sculpture and painting.
Munroe was born in Nassau, the Bahamas where he lived in community of Grants Town until 2004. In his youth he was challenged by the many stigmas and stereotypes associated with that community: a world of gang violence, drugs murder. Today his work reflects on the environment of his upbringing as he maps a personal journey of trauma and survival overcoming obstacles through self-determination, self-discovery and personal development. Though his creative work is inspired by the past, Munroe’s loud, energetic and unapologetic visual language confronts contemporary society and strained and difficult relationships between formal authority and the people of the ghetto.
"Dartmouth Hall is the name for two buildings constructed on the same site and same stone foundation at Dartmouth College in Hanover, New Hampshire, since 1784. The current brick building was largely constructed from 1904 to 1906.
Construction of the original Dartmouth Hall began in 1784. The school originally planned to construct the building of brick, but eventually pine and oak were used instead due to greater availability and lesser cost. The Hall was the sole college building upon its completion in 1791, and was simply known as "the college" until at least 1828 when it was first referred to as Dartmouth Hall. The Hall survived a tornado in 1802 and fires in 1798 and 1848, which led to renovations being completed. The Hall remained the oldest College building on the Dartmouth campus until it burned in 1904. The 1904 fire destroyed almost the entire building, but much of the granite foundation was re-used, as were several original windows, granite steps, and metal from the damaged bell. Dartmouth Hall was rebuilt from 1904 to 1906 using brick instead of wood, but it was built to nearly identical dimensions as the original wooden building, making it a virtual replica. Lord Dartmouth laid the cornerstone in 1904. Currently the building houses the Department of French and Italian Languages and Literatures, Department of German Studies, and Department of Spanish and Portuguese Languages and Literatures.
Dartmouth College (/ˈdɑːrtməθ/; DART-məth) is a private Ivy League research university in Hanover, New Hampshire. Established in 1769 by Eleazar Wheelock, it is one of the nine colonial colleges chartered before the American Revolution and among the most prestigious in the United States. Although founded to educate Native Americans in Christian theology and the English way of life, the university primarily trained Congregationalist ministers during its early history before it gradually secularized, emerging at the turn of the 20th century from relative obscurity into national prominence.
Following a liberal arts curriculum, Dartmouth provides undergraduate instruction in 40 academic departments and interdisciplinary programs, including 60 majors in the humanities, social sciences, natural sciences, and engineering, and enables students to design specialized concentrations or engage in dual degree programs. In addition to the undergraduate faculty of arts and sciences, Dartmouth has four professional and graduate schools: the Geisel School of Medicine, the Thayer School of Engineering, the Tuck School of Business, and the Guarini School of Graduate and Advanced Studies. The university also has affiliations with the Dartmouth–Hitchcock Medical Center. Dartmouth is home to the Rockefeller Center for Public Policy and the Social Sciences, the Hood Museum of Art, the John Sloan Dickey Center for International Understanding, and the Hopkins Center for the Arts. With a student enrollment of about 6,700, Dartmouth is the smallest university in the Ivy League. Undergraduate admissions are highly selective with an acceptance rate of 6.24% for the class of 2026, including a 4.7% rate for regular decision applicants.
Situated on a terrace above the Connecticut River, Dartmouth's 269-acre (109 ha) main campus is in the rural Upper Valley region of New England. The university functions on a quarter system, operating year-round on four ten-week academic terms. Dartmouth is known for its strong undergraduate focus, Greek culture, and wide array of enduring campus traditions. Its 34 varsity sports teams compete intercollegiately in the Ivy League conference of the NCAA Division I.
Dartmouth is consistently cited as a leading university for undergraduate teaching by U.S. News & World Report. In 2021, the Carnegie Classification of Institutions of Higher Education listed Dartmouth as the only majority-undergraduate, arts-and-sciences focused, doctoral university in the country that has "some graduate coexistence" and "very high research activity".
The university has many prominent alumni, including 170 members of the U.S. Senate and the U.S. House of Representatives, 24 U.S. governors, 23 billionaires, 8 U.S. Cabinet secretaries, 3 Nobel Prize laureates, 2 U.S. Supreme Court justices, and a U.S. vice president. Other notable alumni include 79 Rhodes Scholars, 26 Marshall Scholarship recipients, and 14 Pulitzer Prize winners. Dartmouth alumni also include many CEOs and founders of Fortune 500 corporations, high-ranking U.S. diplomats, academic scholars, literary and media figures, professional athletes, and Olympic medalists.
Hanover is a town located along the Connecticut River in Grafton County, New Hampshire, United States. As of the 2020 census, its population was 11,870. The town is home to the Ivy League university Dartmouth College, the U.S. Army Corps of Engineers Cold Regions Research and Engineering Laboratory, and Hanover High School. The Appalachian Trail crosses the town, connecting with a number of trails and nature preserves.
Most of the population resides in the Hanover census-designated place (CDP)—the main village of the town. Located at the junctions of New Hampshire routes 10, 10A, and 120, the Hanover CDP recorded a population of 9,078 people at the 2020 census. The town also contains the smaller villages of Etna and Hanover Center." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.
Sim is a nine-year old girl who lives in two alternate worlds. In one world she is rented out as a domestic servant working in the city of Lagos. In the alternate world, Sim lives in dreamland where she can fly at will. A world with talking birds and butterflies, where shadows become friends in a moon lit world of escapism.
Péju Alatise is an interdisciplinary artist, architect, and writer. She produces works across a variety of mediums and techniques, including but not limited to paintings, film, installations, sculptures. Notably she explored the theme of representing marginalised girls at the Venice Biennial in 2017.
In the Venice Architecture Biennial in 2021, Péju used Yoruba folklore which evoked stories of creatures with powers commanding thunder, water, retribution and abundance.
Péju’s work is also pointedly political, often asking damning questions of, and provoking reflections about the times, the state of affairs at home and abroad. Her work has, in the past, explored exploitative labour practices in Nigeria, child rights with a focus on young girls. Alatise produces through the lens of spirituality, Yoruba cosmology, leaning into ancient storytelling traditions and crafting alternative social images.
(with the poster I saved from our 2014 interdisciplinary gathering on "Moon Base Alpha")
When I share enthusiasm for some new space exploration or colonization initiative, I occasionally hear the retort that we should focus on saving Earth first, often with climate change in mind as the imminent existential threat.
A recent articulate example from Facebook: “It seems to me that we are in such a significant emergency (really interrelated emergencies) that we need to focus all of our ingenuity and resources on transforming our energy systems, infrastructure, agriculture, transportation, political systems, etc. right here on this planet. I am afraid that we will end up exporting our exploitative culture to space and not make the changes here that we need to restore the life support systems of our planet.”
And my reply: When I have heard these concerns in the past, I have dashed off a retort about the false dichotomy, but the concerns persist, so let me try to be a bit more thoughtful, and please let me know if you find any of this to be persuasive:
1) Positive inspiration: living in space is the ultimate recycling and sustainability challenge. A fair number of people like to dream of something grand as they simultaneously solve the problems of today. You mention transforming energy, ag and transportation. Think of the advances that some of the “space people” have made in this area. Tesla came after SpaceX. Some of my most recent investments have been in fusion power and animal-free meat manufacturing. They are both HUGE priorities to save the Earth (we have to stem the growth of hundreds of new coal power plants in China and meat manufacturing globally, both major sources of GHG). But they are also essential for off-world colonies — energy and food production challenges are more acute when imagining a lunar or Mars base.
For a breakthrough solution, you often have to imagine a challenge greater than the creeping incrementalism of “problem fixing.”
2) Direct synergy: where would the environmental movement and the climate change science be without space? From the whole-Earth image of our pale blue dot to the Earth observation satellites, one could argue that space initiatives have been the greatest advance for the environmental movement (Sierra Club). The founders of Open Lunar are the founders of Planet; like me, they still have their day jobs where they image the entire Earth every day from space. Other space entrepreneurs are putting up GPS-RO satellites to measure upper atmosphere weather (essential to climate models and weather prediction) and this data cannot be gathered from the ground. These satellite constellations are now cost-effective because of the lowering launch costs from SpaceX and some of their competitors.
3) Differential advantage: not everyone on the planet should be focused on the same thing. You provide a partial list of priorities, but should a domain expert on poverty or the diseases of the poor shift entirely to something on your list of emergencies? Do you want to argue that climate change trumps other priorities, and even if it does, do you have a rank list of what to prioritize within that domain? This climate-change prioritization list surprised me as to the space-synergies.
4) Experimentation zones: this is a new opportunity. If we want to perform experiments in geoengineering, Mars and Venus might be better places to start as we hone our skills and verify our simulations. And if we can make one habitable, and humanity becomes multi-planetary, it would be one of the greatest accomplishments for our civilization. These experimentation zones could include the “political systems” you mention and go beyond the “charter cites” that Paul Romer espouses to “charter civilizations” with experiments in better governance among the off-world colonies.
In short, exploring the final frontier and saving the Earth are not mutually exclusive; rather, they are deeply synergistic, inspirational and focused on the ultimate sustainability challenge.
And the entrepreneurial drive to forge a future that inspires future generations with the potential of progress is a worthy endeavor in its own right.
Thoughts?
Authors: Constance Rinaldo, Bianca Crowley, Boris Jacob
Conference: Berlin9 Open Access Conference (www.berlin9.org/)
The Biodiversity Heritage Library (BHL) is a international endeavor that provides over 47,000 biodiversity titles as part of an open access digital library. Driven by a globally distributed group of librarians, scientists, and technologists, BHL relies on user feedback to improve its collections and services. Feedback is received through an issue tracking system which allows comments from users to be consistently managed and quantified. User comments highlight the BHL’s role in accelerating their research and providing previously unavailable content.
The research impact of BHL is measured through user surveys and in‐depth interviews. Regular blog posts about users feature the impact of BHL’s open access content throughout a wide, interdisciplinary spectrum, from biologists to bibliophiles, to historians, and artists. BHL promotes the use of its collection and interacts with users via Twitter, Facebook, Flickr and other platforms.
Going beyond open access, BHL encourages and facilitates the innovative re‐use of its bibliographic and taxonomic name data. Taking advantage of BHL’s open data, users and other services such as BioStor and Encyclopedia of Life, have built innovative tools to accelerate the evolution of BHL.
Successful grants are expanding the global reach of BHL, bringing resources to new audiences, improving mass digitization techniques for rare materials and connecting scientists’ field notebooks with museum specimens and publications. This poster highlights the research impact of open access biodiversity literature and open data, as well as the direct interactions with users that create opportunities for the future of BHL.
See: www.berlin9.org/program/posters and www.berlin9.org/bm~doc/berlin9_final_2.pdf
Prof. John Pollini working with STUDENTS AT OSTIA
John Pollini in my opinion is the number 1 authority on Julio Claudian Portrait study. I have had much correspondence with Prof. Pollini and he is passionate about Roman Art. Here is his curriculum Vitae:
Education
B.A. Classics, University of Washington, 1/1968
M.A. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1973
Ph.D. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1978
Academic Appointment, Affiliation, and Employment History
Professor, Department of Art History (Adjunct Professor for Department of Classics and Department of History), University of Southern California, 1991-
Dean of the School of Fine Arts, University of Southern California, 1993-1996
Chairman of the Department of Art History, University of Southern California, 1990-1993
Associate Professor, Department of Art History and Department of Classics (adjunct appointment), University of Southern California, 1987-1991
Assistant Professor, Department of Classics, Johns Hopkins University, 1980-1987
Curator, Johns Hopkins University Archaeological Museum, 1980-1987
Visiting Assistant Professor, Department of Classics, Johns Hopkins University, 1979-1980
Mellon Postdoctoral Fellow, Department of Classics, Case Western Reserve University, 1978-1979
Description of Research
Summary Statement of Research Interests
Professor Pollini's research is concerned with methodologies of classical art and archaeology, ancient history, classical philology, epigraphy and numismatics. His other scholarly research interests include ancient religion, mythology, narratology, rhetoric and propaganda. Over the years Professor Pollini has excavated at the Greco-Roman site of Aphrodisias, Turkey, and the Etruscan site of Ghiaccio Forte, Italy, and participated in the underwater survey of the port of Tarquinia (Gravisca), Italy. Trained in the methodologies of classical art & archaeology, ancient history, classical philology, epigraphy, and numismatics, Professor Pollini is committed to interdisciplinary teaching and research. Professor Pollini has lectured widely both in the United States and abroad. He has published numerous articles and authored several books.
Research Specialties
Classical Art and Archaeology
Honors and Awards
Elected Life Member, German Archaeological Association, 2000-
American Council of Learned Societies Fellowship, awarded for second time, 2006-2007
Guggenheim Fellowship, deferred until 2007-2008, 2006-2007
Whitehead Professor at the American School of Classical Studies at Athens (Honorific Appointment), 9/1/2006-6/1/2007
Departmental Nominee for University Associates Award for Excellence in Teaching 2002, 2002-2005
Mellon Foundation Award for Excellence in Mentoring, 2004-2005
Departmental Nominee for University Associates Award for Excellence in Teaching 1998, 1998-2001
National Endowment for the Humanities Fellowship, awarded for second time, 1995-1996
American Council of Learned Societies Fellowship, 1987-1988
National Endowment for the Humanities Fellowship, 1983-1984
Mellon Postdoctoral Fellowship, 1978-1979
Fulbright Award, Fellowship to Italy, 1975-1976
CURRICULUM VITAE
JOHN POLLINI
Department of Art History
Von Kleinsmid Center 351 University of Southern California
Los Angeles, CA 90089-0047
Professor of Classical Art and Archaeology, Department of Art History
Joint Professor, Department of History
Adjunct Professor, Department of Classics
President, Classical Archaeological Association of Southern California (CAASC)
DEGREES
Ph. D. Ancient History and Mediterranean Archaeology, University of California at
Berkeley (1978) (interdisciplinary program involving the Departments of Art History,
Classics, and History; major field: Etruscan and Roman Art and Archaeology; minor
fields: Greek Art and Archaeology and Roman History; Ph.D. equivalency exams in
ancient Greek and Latin) [Diss.: Studies in Augustan “Historical” Reliefs]
M.A. Ancient History and Mediterranean Archaeology, University of California at
Berkeley (l973) [MA Thesis: Two Marble Portrait Statues of Pugilists from Carian
Aphrodisias: Iconography and Third Century A.D. Sculptural Traditions in the Roman
East]
B.A. magna cum laude, Classics, University of Washington (1968)
POSTDOCTORAL ACADEMIC APPOINTMENTS
Dean of the School of Fine Arts, University of Southern California, with administrative,
budgetary, and fund-raising responsibilities (1993-1996)
Chairman of the Department of Art History, University of Southern California
(1990-1993)
Full Professor, University of Southern California, Department of Art History
(1991-present), with joint appointment in the Department of History and adjunct
appointment in the Department of Classics
Associate Professor, University of Southern California, Department of Art History, with
adjunct appointment in the Department of Classics (1987-1991)
Assistant Professor, Johns Hopkins University, Department of Classics (1980-1987) and
Curator of the Johns Hopkins University Archaeological Museum (1980-1987)
Visiting Assistant Professor, Johns Hopkins University, Department of Classics
(1979-1980)
Mellon Postdoctoral Fellow, Case Western Reserve University, Department of Classics
(1978-1979)
INTERNATIONAL AND NATIONAL FELLOWSHIPS, GRANTS,
AWARDS, HONORS
William E. Metcalf Lectureship (2008)
John Simon Guggenheim Memorial Foundation Fellowship (2006-2007, deferred to
2007-2008)
Whitehead Professor of Archaeology, American School of Classical Studies at
Athens (2006-2007)
American Council of Learned Societies Fellowship (2006-2007)
Kress Foundation Travel Grant (Summer 2006)
Mellon Foundation Award for Excellence in Mentoring (2005)
Taggart Foundation Grant: Campus Martius Virtual Reality Project (2005)
Distinguished Lecturer, Biblical Archaeological Society and Center for Classical
Archaeology, University of Oklahoma, Norman (2005): Series of three lectures on
Roman and Christian Religion, Art, and Ideology
Kress Foundation Travel Grant (2003)
Senior Humboldt Research Prize (nominated) to Berlin, Germany, for 2000-2001
Elected Member (for life) of the German Archaeological Institute (Berlin) (2000)
National Endowment for the Humanities Fellowship for Independent Study and
Research (1995-1996)
Kress Foundation Travel Grant (Summer 1988)
American Council of Learned Societies Fellowship (1987-1988)
Kress Foundation Travel Grant (1987)
National Endowment for the Humanities Fellowship for Independent Study and
Research (1983-1984)
Mellon Postdoctoral Fellowship, Case Western Reserve University (1978-1979)
Mabelle McLeod Lewis Memorial Fund Fellowship to Italy (1975-1976)
Fulbright Fellowship, Università di Roma, Rome, Italy (1975-1976)
UNIVERSITY FELLOWSHIPS, GRANTS, AWARDS, HONORS
Departmental Nominee for University Associates Award for Excellence in Teaching
(2002-2005)
College Faculty Research Development Award (consecutive years: 2000-2007)
University of Southern California Grant for Innovative Undergraduate Teaching
(with Lynn Swartz Dodd and Nicholas Cipolla) for a virtual reality project “Imaging
Antiquity: Creating Context through Virtual Reconstructions, Digital Resources, and
Traditional Media” (2003-2004)
Grant for the “College Initiative for the Study of Political Violence” (2002)
University of Southern California Grant for Innovative Undergraduate Teaching
(with Bruce Zuckermann and Lynn Swartz Dodd) to develop a new interdisciplinary and
interdepartmental course entitled “Accessing Antiquity: Actual Objects in Virtual Space”
(2000-2001)
University of Southern California Senior Nominee for National Endowment for the
Humanities Summer Stipend for Faculty Research (1998-1999)
Departmental Nominee for University Associates Award for Excellence in Teaching
(1998-2001)
College Awards and Grants for Research Excellence (consecutive years: 1997-2000)
Hewlett Foundation Award and Grant for General Education Course Development
(1997-1998)
Faculty Research and Innovation Fund Grant, University of Southern California (1988)
University of California Traveling Fellowship (1976-1977)
Dean’s Fellowship, U.C. Berkeley (1973-1975)
Phi Beta Kappa (1968), University of Washington
ADDITIONAL EDUCATIONAL PREPARATION
Field trips sponsored by the American Academy in Rome, German Archaeological
Institute, and Comune di Roma (1975-1978)
Research in Rome, Italy for dissertation (1975-1978), as well as further study of Greek
and Roman art and architecture in Italy and elsewhere in Europe during this period
Supervised study of Greek and Roman sculpture at the J. Paul Getty Museum, with
J. Frel (1973-1975)
Course in Greek art and archaeology at the Universität München, Munich, Germany
with E. Homann-Wedeking (1971)
Study of the German language at the Goethe Institute, Grafing (Munich), Germany (1971)
Course work in Roman, Etruscan, and Italic art and architecture, Università di Roma,
with G. Becatti, M. Pallottino, F. Castagnoli, and M. Squarciapino (1970-1971)
ARCHAEOLOGICAL FIELD WORK
Underwater survey of port of Tarquinia (Gravisca), Italy (1977): Consultant
Excavation of Etruscan site of Ghiaccio Forte, Italy (1973)
Excavation of Greco-Roman site of Aphrodisias, Turkey (1970-1972)
Excavation of Spanish/Indian Mission, Guavave, Arizona (1965-1966)
LANGUAGES
Ancient: Latin and Greek
Modern: German, Italian, French, modern Greek, some Turkish
BOOKS
PUBLISHED:
I) The Portraiture of Gaius and Lucius Caesar (Fordham University Press, New York
1987) (with a book subvention from the National Endowment for the Humanities).
II) Roman Portraiture: Images of Character and Virtue, with graduate student
participation (Fisher Gallery, Los Angeles 1990).
III) Gallo-Roman Bronzes and the Process of Romanization:The Cobannus Hoard
(Monumenta Graeca et Romana IX) (Brill, Leiden 2002).
IV) The de Nion Head: A Masterpiece of Archaic Greek Sculpture (Philipp von
Zabern, Mainz 2003).
V) Terra Marique: Studies in Art History and Marine Archaeology in Honor of Anna
Marguerite McCann on the Receipt of the Gold Medal of the Archaeological Institute
of America (editor, designer, and contributor of introduction, publication list, and
one of 19 essays) (Oxbow Publications, Oxford 2005).
SUBMITTED:
VI) From Republic to Empire: Rhetoric, Religion, and Power in the Visual Culture of
Ancient Rome (University of Oklahoma Press), comprising eight chapters:
CHAPTER I: The Leader and the Divine: Diverse Modes of Representation in Roman Numismatics
CHAPTER II: The Cult Image of Julius Caesar: Conflicts in Religious Theology and Ideology in
Augustus’ Representational Program
CHAPTER III: From Warrior to Statesman in Augustan Art and Ideology: Augustus and the Image of
Alexander
CHAPTER IV: The Ideology of “Peace through Victory” and the Ara Pacis: Visual Rhetoric and the
Creation of a Dynastic Narrative [revised and updated essay originally published in
German]
CHAPTER V: The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of
Anamorphosis, Anakyklosis and Numen Mixtum [revised and updated publication].
CHAPTER VI: Divine Providence in Early Imperial Ideology: The Smaller Cancelleria Relief and
the Ara Providentiae Augustae
CHAPTER VII: The “Insanity” of Caligula or the “Insanity” of the Jews? Differences in Perception
and Religious Beliefs
CHAPTER VIII: “Star Power” in Imperial Rome: Astral Theology, Castorian Imagery, and the Dual
Heirs in the Transmission of the Leadership of the State
IN PROGRESS:
VII) Christian Destruction and Desecration of Images of Classical Antiquity: A Study
in Religious Intolerance in the Ancient World
VIII) Dynastic Narratives in Augustan Art and Thought: The Rhetoric and Poetry of
Visual Imagery [with DVD Virtual Reality Program of the Monuments]
IX) The Image of Augustus: Art, Ideology, and the Rhetoric of Leadership
X) Social, Sexual, and Religious Intercourse: Sacrificial Ministrants and Sex-Slaves
in Roman Art -- 3rd Century B.C. - 4th Century A.D.
ARTICLES
PUBLISHED:
1) “A Flavian Relief Portrait in the J. Paul Getty Museum,” in Getty Museum Journal
5 (1977) 63-66.
2) “Gnaeus Domitius Ahenobarbus and the Ravenna Relief,” in Römische Mitteilungen
88 (1981) 117-40.
3) “A Pre-Principate Portrait of Gaius (Caligula)?” in Journal of the Walters Art
Gallery 40 (1982) 1-12.
4) “Damnatio Memoriae in Stone: Two Portraits of Nero Recut to Vespasian in
American Museums,” in American Journal of Archaeology 88 (1984) 547-55.
5) “The Meaning and Date of the Reverse Type of Gaius Caesar on Horseback,” in
American Numismatic Society Museum Notes 30 (1985) 113-17.
6) “Response to E. Judge’s ‘On Judging the Merits of Augustus,’” in Center for
Hermeneutical Studies: Colloquy 49 (1985) 44-46.
7) “Ahenobarbi, Appuleii and Some Others on the Ara Pacis,” in American Journal of
Archaeology 90 (1986) 453-60.
8) “The Findspot of the Statue of Augustus from Prima Porta,” in Bullettino della
Commissione Archeologica Comunale di Roma 92 (1987/88) 103-108.
9) “Two Acrolithic or Pseudo-Acrolithic Sculptures of the Mature Classical Period in
the Archaeological Museum of the Johns Hopkins University,” in Classical Marble:
Geochemistry,Technology, Trade (NATO ASI Series E vol. 153), edd. N. Herz and
M. Waelkens (Dordrecht 1988) 207-17.
10) “Man or God: Divine Assimilation and Imitation in the Late Republic and Early
Principate,” in Between Republic and Empire: Interpretations of Augustus and His
Principate, edd. K.A. Raaflaub and M. Toher (Berkeley 1990) 333-63.
11) “The Marble Type of the Augustus from Prima Porta: An Isotopic Analysis,” in
Journal of Roman Archaeology 5 (1992) 203-208.
12) “The Tazza Farnese: Principe Augusto ‘Redeunt Saturnia Regna’!” in American
Journal of Archaeology 96 (1992) 249-55, 283-300.
13) “The Cartoceto Bronzes: Portraits of a Roman Aristocratic Family of the Late First
Century B.C.,” in American Journal of Archaeology 97 (1993) 423-46.
14) “The Gemma Augustea: Ideology, Rhetorical Imagery, and the Construction of a
Dynastic Narrative,” in Narrative and Event in Ancient Art, ed. P. Holliday
(Cambridge 1993) 258-98.
15) “The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of
Anamorphosis, Anakyklosis and Numen Mixtum,” in Von der Bauforschung zur
Denkmalpflege, Festschrift für Alois Machatschek (Vienna 1993) 181-217.
16) “The ‘Trojan Column’ at USC: Reality or Myth?” in Trojan Family (May, 1994)
30-31.
17) “The Augustus from Prima Porta and the Transformation of the Polykleitan Heroic
Ideal,” in Polykleitos, the Doryphoros, and Tradition, ed. W. Moon (Madison 1995)
262-82.
18) “The ‘Dart Aphrodite’: A New Replica of the ‘Arles Aphrodite Type,’ the Cult Image
of Venus Victrix in Pompey’s Theater at Rome, and Venusian Ideology and Politics
in the Late Republic - Early Principate,” in Latomus 55 (1997) 757-85.
19) “Parian Lychnites and the Prima Porta Statue: New Scientific Tests and the Symbolic
Value of the Marble” (with N. Herz, K. Polikreti, and Y. Maniatis), in Journal of
Roman Archaeology 11 (1998) 275-84.
20) “The Warren Cup: Homoerotic Love and Symposial Rhetoric in Silver,” in The Art
Bulletin 81 (1999) 21-52.
21) “Ein mit Inschriften versehener Legionärshelm von der pannonisch-dakischen Grenze
des römischen Reiches: Besitzverhältnisse an Waffen in der römischen Armee,” in
M. Junkelmann, Römische Helme VIII Sammlung Axel Guttmann, ed. H. Born
(Mainz 2000) 169-88.
22) “The Marble Type of the Statue of Augustus from Prima Porta: Facts and Fallacies,
Lithic Power and Ideology, and Color Symbolism in Roman Art,” in Paria Lithos:
Parian Quarries, Marble and Workshops of Sculpture (Proceedings of the First
International Conference on the Archaeology of Paros and the Cyclades, Paros, 2-5
October 1997), edd. D.U. Schilardi and D. Katsonopoulou (Athens 2000) 237-52.
23) “The Riace Bronzes: New Observations,” in Acten des 14. Internationalen
Kongresses für Antike Bronzen, Kölner Jahrbuch 33 (2000) 37-56.
24) “Two Bronze Portrait Busts of Slave-Boys from a Shrine of Cobannus in Roman
Gaul,” in Studia Varia II: Occasional Papers on Antiquities of The J. Paul Getty
Museum 10 (2001) 115-52.
25) “A New Portrait of Octavian/Augustus Caesar,” in Roman Sculpture in the
Art Museum, Princeton University (Princeton 2001) 6-11.
26) “Two Gallo-Roman Bronze Portraits of Sacrificial Ministrants in the J. Paul Getty
Museum,” in From the Parts to the Whole 2: Acta of the 13th International Bronze
Congress, Cambridge, Massachusetts, May 28 - June 1, 1996, edd. C.C.
Mattusch, A. Brauer, and S.E. Knudsen (Portsmouth, Rhode Island 2002) 89-91.
27) “‘Frieden-durch-Sieg’ Ideologie und die Ara Pacis Augustae: Bildrhetorik und
die Schöpfung einer dynastischen Erzählweise,” in Krieg und Sieg: Narrative
Wanddarstellungen von Altägypten bis ins Mittelalter (Internationales
Kolloquium 23. - 30. Juli 1997 im Schloss Heindorf, Langenlois; Österreichischen
Akademie der Wissenschaften XXIV), edd. M. Bietak und M. Schwarz (Vienna
2002) 137-59.
28) “A New Portrait of Octavia and the Iconography of Octavia Minor and Julia Maior,”
Römische Mitteilungen 109 (2002) 11-42.
29) “Slave-Boys for Sexual and Religious Service: Images of Pleasure and Devotion,” in
Flavian Rome: Culture, Image, Text, edd. A.J. Boyle and W.J. Dominik (Leiden
2003) 149-66.
30) “The Caelian Hill Sacrificial Minister: A Marble Head of an Imperial Slave-Boy from
the Antiquarium Comunale on the Caelian Hill in Rome,” in Römische Mitteilungen
111 (2004) 1-28.
31) “A New Head of Augustus from Herculaneum: A Marble Survivor of a Pyroclastic
Surge,” in Römische Mitteilungen 111 (2004) 283-98.
32) “The Armstrong and Nuffler Heads and the Portraiture of Julius Caesar, Livia, and
Antonia Minor in Terra Marique: Studies in Honor of Anna Marguerite McCann
on the Receipt of the Gold Medal of the Archaeological Institute of America, ed.
J. Pollini (Oxbow Publications, Oxford 2005) 89-122.
33) “A New Marble Portrait of Tiberius: Portrait Typology and Ideology,” in Antike Kunst
48 (2005) 57-72.
34) “A North African Portrait of Caracalla from the Mellerio Collection and the
Iconography of Caracalla and Geta,” in Revue Archéologique (2005) 55-77.
35) “A Bronze Gorgon Handle Ornament of the Ripe Archaic Greek Period,” in Annuario
della Scuola Archeologica Italiana di Atene e delle Missioni Italiani in Oriente 83
(2005) 235-47.
36) “Ritualizing Death in Republican Rome: Memory, Religion, Class Struggle, and the
Wax Ancestral Mask Tradition’s Origin and Influence on Veristic Portraiture” in
Performing Death: Social Analyses of Funerary Ritual in the Ancient Near East
and Mediterranean (Oriental Institute Seminars 3, University of
Chicago), ed. N. Laneri (Chicago 2007) 237-85.
37) “A New Bronze Portrait Bust of Augustus,” in Latomus 66 (2007) 270-73.
FORTHCOMING:
38) “Gods and Emperors in the East: Images of Power and the Power of Intolerance,”
in the proceedings of an international conference on “‘Sculptural Environment’ of the
Roman Near East: Reflections on Culture, Ideology, and Power” (University of
Michigan), in Interdisciplinary Studies in Ancient Culture and Religion,
edd. E.A. Friedland, S.C. Herbert, and Y.Z. Eliav (Peeters Publ.: Leuven).
39) “A New Portrait Bust of Tiberius in the Collection of Michael Bianco,” in Bulletin
Antieke Beschaving 83 (2008) 133-38.
40) “The Desecration and Mutilation of the Parthenon Frieze by Christians and Others,” in
Athenische Mitteilungen 122 (2007).
41) “Problematics of Making Ambiguity Explicit in Virtual Reconstructions:
A Case Study of the Mausoleum of Augustus,” for the proceedings of an international
conference, “Computer Technology and the Arts: Theory and Practice,” sponsored by
the British Academy and the University of London.
42) “A Winged Goat Table Leg Support from the House of Numerius Popidius Priscus at
Pompeii,” in Pompei, Regio VII, Insula 2, pars occidentalis. Indagini, Studi,
Materiali (la Soprintendenza Archeologica di Pompei), ed. L. Pedroni.
43) “Augustus: Portraits of Augustus,” in Oxford Encyclopedia of Ancient Greece and
Rome (2008).
44) “A New Bronze Lar and the Role of the Lares in the Domestic and Civic Religion of the Romans,” in Latomus (2008).
IN PROGRESS:
45) “The ‘Colville Athena’ Head and Its Typology.”
46) “Idealplastik and Idealtheorie: Paradeigmatic Systems, Homosexual Desire, and the
Rhetoric of Identity in Polykleitos’ Doryphoros and Diadoumenos.”
REVIEW ARTICLES
PUBLISHED:
D. Boschung, Die Bildnisse des Augustus (Das römische Herrscherbild I.2) (Berlin 1993),
in Art Bulletin 81 (1999) 723-35.
E. Varner, Mutilation and Transformation: Damnatio Memoriae and Roman Imperial
Portraiture (Monumenta Graeca et Romana 10) (Leiden 2004), in Art Bulletin 88
(2006) 591-98.
BOOK REVIEWS
PUBLISHED:
M. Torelli, Typology and Structure of Roman Historical Reliefs, in American Journal of
Archaeology 87 (1983) 572-73.
J. Ganzert, Das Kenotaph für Gaius Caesar in Limyra, in American Journal of
Archaeology 90 (1986) 134-36.
R. Brilliant, Visual Narratives. Storytelling in Etruscan and Roman Art in American
Journal of Philology 107 (1986) 523-27.
PUBLISHED IN CHOICE:
E. Bartman, Portraits of Livia: Imaging the Imperial Woman in Augustan Rome, in
vol. 37 (1999) 126.
B.S. Ridgway, Prayers in Stone: Greek Architectural Sculpture (Ca. 600 - 100 B.C.),
in vol. 37 (2000) 1095.
W.E. Mierse, Temples and Towns in Roman Iberia: The Social and Architectural
Dynamics of Sanctuary Designs from the Third Century B.C. to the Third Century A.D.
in vol. 37 (2000) 1458.
V. Karageorgis, Ancient Art from Cyprus: The Cesnola Collection in The Metropolitan
Museum of Art (New York 2000)in vol. 38 (2000) 1953.
Z. Hawass, Valley of the Golden Mummies (New York 2000) in vol. 38 (2001)
4036.
M.W. Jones, Principles of Roman Architecture (New Haven 2000) in vol. 38 (2001)
5409.
F. Salmon, Building on Ruins: The Rediscovery of Rome and English Architecture
(Ashgate 2000) in vol. 39 (2001) 106.
J. Boardman, The History of Greek Vases: Potters, Painters and Pictures (New York
2001) in vol. 39 (2002) 3755.
Roman Sculpture in the Art Museum, Princeton University, ed. J. M. Padgett (Princeton
2001) in vol. 39 (2002) 6218.
G. Hedreen, Capturing Troy: The Narrative Function of Landscape in Archaic and Early
Classical Greek Art (Ann Arbor, 2001) in vol. 40 (2002) 73.
A. J. Clark, M. Elston, and M.L. Hart, Understanding Greek Vases: A Guide to Terms,
Styles, and Techniques (Los Angeles 2002) in vol. 40 (2003) 3185.
S. Woodford, Images of Myths in Classical Antiquity (Cambridge 2003) in vol. 41
(2003) 89.
J. Aruz with R. Wallenfels (edd.), Art of the First Cities: The Third Millennium B.C. from
the Mediterranean to the Indus (The Metropolitan Museum of Art, New York) (New
Haven 2003) in vol. 41 (2004) 2584.
G. Curtis, Disarmed: The Story of the Venus de Milo (New York 2003) in vol. 41 (2004)
5083.
Games for the Gods: The Greek Athlete and the Olympic Spirit, edd. J.J. Herrmann and C.
Kondoleon (Boston Museum of Fine Arts) in vol. 42 (2004) 646.
E.W. Leach, The Social Life of Painting in Ancient Rome and on the Bay of Naples
(Cambridge 2004) in vol. 42 (2004) 1215-16.
D. Mazzoleni, Domus: Wall Painting in the Roman House (Los Angeles 2004) in vol. 42
(2005) 1809.
S. Fine, Art and Judaism in the Greco-Roman World: Toward a New Jewish Archaeology
(Cambridge 2005) in vol. 43 (2006) 1586-87.
C.H. Hallett, The Roman Nude: Heroic Portrait Statuary 200 B.C. -- A.D. 300 (Oxford
2005) in vol. 44 (2006).
Constantine the Great: York’s Roman Emperor, edd. E. Hartley, J. Hawkes, M. Henig, and
F. Mee (York 2006) in vol. 44 (2006).
M.D. Stansbury-O’Donnell, Vase Painting, Gender, and Social Identity in Archaic Athens
(Cambridge 2006) in vol. 44 (2006).
PRINCIPAL INSTRUCTIONAL MATERIALS (Hard Copy and Online):
Greek Art and Archaeology: Course Manual (113 pages, 23 plates) and online version of
this Course Manual with digitized images
Roman Art and Archaeology: Course Manual (158 pages, 58 plates) and online version
of this Course Manual with digitized images
Digging into the Past: Material Culture and the Civilizations of the Ancient
Mediterranean: Course Manual (43 pages)
Proseminar Guide to General and Specific Works on Greek and Roman Art and
Archaeology and Related Disciplines (50 pages) and online version
Website for AHIS 425, “Introduction to Interdisciplinary Research and Methodology
in Classical Art and Archaeology and Related Disciplines” with links to other important
websites in the fields of Art, Archaeology, Classics, and Ancient History
Website for AHIS 201g: “Digging into the Past: Material Culture and the
Civilizations of the Ancient Mediterranean” (with digitized images)
PAPERS GIVEN AT INTERNATIONAL AND NATIONAL
CONFERENCES AND SYMPOSIA
On Judging the Merits of Augustus: Center for Hermeneutical Studies: Colloquy,
Berkeley (April, 1985)
Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,
National Gallery of Art (October, 1986)
Augustus: Monuments, Arts, and Religion: Brown University (March, 1987)
Aspects of Ancient Religion: University of California at Berkeley (April, 1987)
Marble and Ancient Greece and Rome: International conference sponsored by
NATO at Il Ciocco (Tuscany), Italy (May, 1988)
Polykleitos, the Doryphoros and Its Influence: University of Wisconsin, Madison
(October, 1989)
UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (December, 1992)
XIIIth International Bronze Congress: Harvard University (May 28 - June 1, 1996)
UCLA-USC Seminar in Roman Studies: Roman Representations: Subjectivity, Power
and Space: USC, Los Angeles (March, 1997)
International Symposium at Cuma (Naples): Flavian Poets, Artists, Architects and
Engineers in the Campi Flegrei (July, 1997)
International Symposium at the University of Vienna: Interdisziplinäres Kolloquium
Historische Architekturreliefs vom Alten Ägypten bis zum Mittelalter (July, 1997)
First International Conference on the Archaeology of Paros and the Cyclades: Paros,
Greece (October, 1997)
Getty Research Institute Colloquium: Work in Progress (November, 1997)
Annual Meetings of the Art Historians of Southern California at California State
University, Northridge, California (November, 1998)
XIV. Internationaler Kongress für Antike Bronzen: Werkstattkreise, Figuren und Geräte
(Sponsored by Das Römisch-Germanisches Museum der Stadt Köln und das
Archäologisches Institut der Universität zu Köln [September 1999]): Besides giving paper,
chaired the session “Bronzestatuen und -statuetten: Fundkomplexen, Fundgruppen,
Einzelstücke, und Typen”
First International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and chaired
session on “Ideology, Historiography, and the Imperial Family” (May, 2000)
International Symposium at Emory University, Atlanta: Tyranny and Transformation
(October, 2000)
Annual Meeting of the Art Historians of Southern California at the Getty Center,
Los Angeles, California (November, 2000)
Getty Research Institute Colloquium: Work in Progress (December, 2000)
Second International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “The Image of
the Princeps and the Ruler Cult” (May, 2001)
UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (April, 2002)
Third International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “Roman History
and Ideology” (May, 2002)
Symposium on the Age of Augustus at UCLA -- (Feb., 2003)
Fourth International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and
chaired session (May, 2003)
International Archaeological Congress, Harvard University (Aug. 2003): Besides giving a
paper, chaired session on “Ancient Society”
VIIth International ASMOSIA Conference, Thasos, Greece (Sept. 2003)
International Conference in the Arts and the Humanities, Honolulu, Hawaii (Jan. 2004)
Symposium on Roman Sculpture, Minneapolis Museum of Art (organized by Richard
Brilliant) (April, 2004)
International Symposium on Interaction of Indigenous and Foreign Cults in Italy at Cuma
(Naples) (May, 2004): Besides giving a paper, chaired session
International Conference at University of Michigan: “‘Sculptural Environment’ of the
Roman Near East: Reflections on Culture, Ideology, and Power (November 2004)
International Conference at Stanford University: “Seeing the Past” (February 2005)
International Conference at the University of London: “Computer Technology and the Arts:
Theory and Practice” (November 2005)
International Conference at the University of Chicago: “Performing Death: Social Analyses
of Funerary Ritual in the Mediterranean” (February 2006)
VIIIth International ASMOSIA Conference, Aix-en-Provence, France (June 2006)
Symposium “Art of Warfare”: Michael C. Carlos Museum, Emory University (January
2007)
PAPERS PRESENTED AT ANNUAL CONVENTIONS OF THE
ARCHAEOLOGICAL INSTITUTE OF ARCHAEOLOGY AND THE
COLLEGE ART ASSOCIATION
Boston (AIA, December, 1979)
New Orleans (AIA, December, 1980)
San Francisco (AIA, December, 1981)
Philadelphia (AIA, December, 1982)
Cincinnati (AIA, December, 1983)
Toronto (AIA, December, 1984)
Washington, D.C. (AIA, December, 1985) -- invited paper, “The Promulgation of the
Image of the Leader in Roman Art,” in a special AIA plenary session on Politics and
Art
San Antonio (AIA, December, 1986) -- invited paper, “Time, Narrativity, and Dynastic
Constructs in Augustan Art and Thought,” at a joint AIA-APA session on topics
illustrating connections between Roman art and philology
Houston (CAA, February, 1988) -- invited paper, “The Gemma Augustea and the
Construction of a Dynastic Narrative,” for a CAA session on Narrative and Event in
Greek and Roman Art
Atlanta (AIA, December, 1994) -- discussant for a joint AIA-APA session on “Rethinking
Nero’s Legacy: New Perspectives on Neronian Art, Literature, and History”
New York (AIA, December, 1996) -- special poster session: “The Marble Type of the
Statue of Augustus from Prima Porta: New Scientific Tests” (prepared in collaboration
with Norman Herz, Director of Programs, Center for Archaeological Sciences, University
of Georgia)
Chicago (AIA, December, 1997)
Washington, D.C. (AIA, December, 1998) -- invited paper, “A Portrait of a Sex-Slave
‘Stud’ (?) in the Metropolitan Museum of Art in New York,” for a special colloquium in
honor of Anna Marguerite McCann on the receipt of the “Gold Medal” of the
Archaeological Institute of America
San Francisco (AIA, January, 2004) -- joint paper with N.Cipolla and L. Swartz Dodd
OTHER ACADEMIC AND PUBLIC LECTURES/TALKS
American Academy, Rome, Italy (March, 1976)
Cleveland Society AIA, Cleveland, Ohio (April, 1979)
Johns Hopkins University, Baltimore, Md. (September, 1980)
Institute of Fine Arts, New York, N.Y. (October, 1980)
Metropolitan Museum of Art, New York, N.Y. (January, 1983)
New York Society AIA, New York, N.Y. (January, 1983)
Baltimore Society AIA, Baltimore, Md. (February, 1983)
University of Toronto, Toronto, Canada (March, 1987)
University of Southern California, Los Angeles, Ca. (March, 1987)
Columbia University, New York, N.Y. (April, 1987)
Classical Archaeological Society of Southern California, UCLA, Ca. (November 1989)
Tulane University, New Orleans, La. (February, 1990)
Classical Archaeological Society of Southern California, USC, Ca. (February 1990)
Los Angeles Society AIA, Los Angeles, Ca. (March, 1990)
Fisher Gallery and School of Fine Arts, University of Southern California, Los Angeles,
Ca. (March, 1990)
Institute of Fine Arts, New York, N.Y. (April, 1990)
American Academy, Rome, Italy (May, 1990)
University of Vienna and Kunsthistorisches Museum, Vienna, Austria (June, 1990)
San Diego Society AIA, San Diego, Ca. (September, 1990)
Classical Archaeological Society of Southern California, Getty Museum, Malibu, Ca.
(November, 1990).
University of Pennsylvania, Philadelphia, Pa. (December, 1990)
Classical Archaeological Society of Southern California, Gamble House, Pasadena, Ca.
(March 1991)
Henry T. Rowell Lecturer: Baltimore Society AIA, Baltimore, Md. (November, 1991)
Villanova University, Villanova, Pa. (November, 1991)
Royal-Athena Galleries, Los Angeles, Ca. (October, 1992)
Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art,
Washington D.C. (November, 1992)
University of North Carolina, Chapel Hill, N.C. (November, 1992)
Duke University, Durham, N.C. (November, 1992)
University of California, Los Angeles: UCLA/USC Seminar in Roman Studies, Los
Angeles, Ca. (December, 1992)
University of Southern California, Los Angeles, Ca. (January, 1993)
J. Paul Getty Museum and Center for the History of Art and the Humanities, Malibu,
Ca. (February, 1993)
Classical Archaeological Society of Southern California, UCLA, Ca. (March 1993)
California State University, Long Beach, Ca. (March, 1993)
Stanford University, Palo Alto, Ca. (April, 1993)
University of California, Berkeley, Ca. (April, 1993)
California State University, Northridge, Ca. (April, 1993)
University of Arizona, Tucson, Az. (April, 1993)
American Academy, Rome, Italy (June, 1994)
Getty Center for the History of Art and the Humanities (Director’s Series) (Dec., 1994)
University of California, Irvine (May, 1997)
American Academy, Rome, Italy (July, 1997)
American School of Classical Studies, Athens (October, 1997)
Los Angeles County Museum of Art, Los Angeles (March, 1998)
British School at Rome (June, 1998)
University of California, Berkeley (November, 1998)
Classical Archaeological Society of Southern California, University of California,
Santa Barbara (March, 1999)
Work in Progress: Getty Research Institute, Brentwood, California (December, 2000)
Classical Archaeological Society of Southern California, Getty Research Institute,
Brentwood, Ca. (April, 2001)
American Academy, Rome, Italy (May, 2001)
Loyola Marymount, Los Angeles (March, 2002)
Southern California Institute of Architecture (February, 2003)
Columbia University, New York (April, 2003)
University of Amsterdam, the Netherlands (May, 2003)
University of Nijmegen, the Netherlands (May, 2003)
American School of Classical Studies, Athens (September, 2003)
University of Oklahoma, Norman (March, 2005)
Cambridge University, Cambridge, England (November, 2005)
American School of Classical Studies at Athens, Greece (March, 2007)
University of Athens, Greece (May, 2007)
Los Angeles Society of the AIA, Los Angeles (December, 2007)
College of William and Mary (January, 2008)
Duke University, Durham (February, 2008)
Dickinson College, Carlisle, PA (March, 2008)
University of Nebraska, Lincoln (April, 2008)
AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS as Whitehead Professor of Archaeology (2006-2007)
Participated in all Fall trips of the School to various parts of Greece, giving
presentations on each of the trips.
Participated in the School’s Spring trip to Central Anatolia, giving several presentations.
Offered a seminar in the Winter Quarter: “Christian Destruction and Desecration of
Images and Shrines of Classical Antiquity.”
MISCELLANEOUS TALKS AND PRESENTATIONS
Lectures and talks on site regarding the architecture and topography of Rome, Ostia,
and Hadrian’s Villa for members of the Technische Universität für Architektur und
Denkmalpflege, Vienna, Austria; the Summer School of the American Academy in
Rome; St. Olaf College’s Junior Year Abroad Program; and M.A. students of
architecture in a joint summer program of the University of Southern California and the
University of Illinois; and the Intercollegiate Center for Classical Studies in Rome.
Talks on various aspects of Classical art and archaeology at meetings of the
Archaeological Society of the Mid-Atlantic States (1980-1987)
Gallery talks on the ancient collections of the Archaeological Museum of the Johns
Hopkins University (in capacity as curator) and of the Walters Art Gallery (1979-1987)
Gallery talks on the ancient collections of the J. Paul Getty Museum and the Los Angeles
County Museum of Art (1987-present)
Talk for USC graduate students in the Dept. of Classics at the Ara Pacis and Mausoleum of
Augustus in Rome (May 26, 2006), organized by Prof. Claudia Moatti, Dept. of Classics
SPECIAL TALKS AND LECTURES AT USC
Seminar for Professor Claudia Moatti, Department of Classics: “Problems in Ancient Art”
(March, 2005)
Seminar for Dr. Daniela Bleichmar, Department of Art History: Rediscovering the
Classical Past: The Relationship of Art History, Archaeology, and Visual Culture (March,
2005)
University of Southern California’s 125th Celebration: For Symposium on “Trojan
Legends” presented paper: “USC's Trojan Column: An Ancient and Modern Myth”
(October, 2005)
MEDIA INTERVIEWS AND CONSULTATION
New York Times, International Herald Tribune, Los Angeles Times, The New Yorker, The
History Channel, Arts and Entertainment Channel, KPCC Radio Los Angeles, NBC, Fox
Featured piece on my innovative work on the marble type of the statue of Augustus from
Prima Porta: A. Elders, “Tracing the Stones of Classical Brilliance,” in Hermes -- Greece
Today 35 (1999) 20-24.
ORGANIZER AND LEADER OF TOURS OF MUSEUMS AND SITES
Turkey (for Board of Councilors and donors of the School of Fine Arts, USC, 1995; for
university students and the general public, 1998)
Greece (Attica and the Peloponnese) (for university students and the general public, 1999)
Central Italy (for university students and the general public, 2000, 2002, 2003)
PARTICIPATION IN OTHER COLLOQUIA AND SYMPOSIA
Roman Sculpture and Architecture: German Archaeological Institute, Rome
(January, 1978)
Roman Architecture: Center for Advanced Study in the Visual Arts, National Gallery
of Art (January, 1981)
The Age of Augustus. The Rise of Imperial Ideology: Brown University (April, 1982)
Pictorial Narratives in Antiquity and the Middle Ages: The Johns Hopkins University and
the Center for Advanced Study in the Visual Arts, National Gallery of Art (March, 1984)
Villa Gardens of the Roman Empire: Dumbarton Oaks (May, 1984)
Retaining the Original -- Multiple Originals, Copies, and Reproductions: Center for
Advanced Study in the Visual Arts, National Gallery of Art (March, 1985)
Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,
National Gallery of Art (October, 1986)
Marble -- Art Historical and Sculptural Perspectives on Ancient Sculpture: J. Paul Getty
Museum (April, 1988)
International Conference on Roman Archaeology and Latin Epigraphy: University of
Rome and the French School of Rome (May, 1988)
Roman Portraits in Context: Emory University (January, 1989)
Small Bronze Sculpture from the Ancient World: J. Paul Getty Museum (March, 1989)
Alexandria and Alexandrianism: J. Paul Getty Museum (April, 1993)
International Symposium: “Rome Reborn” Visual Reality Program at UCLA (December,
1996)
History of Restoration of Ancient Stone Sculptures, J. Paul Getty Museum (October, 2001)
Re-Restoring Ancient Stone Sculpture, J. Paul Getty Museum (March, 2003)
Marble Conference on Thasos, Liman, Thasos (Sept. 2003)
OTHER PROFESSIONAL ACTIVITIES
Editorial Assistant (1968-1969) and Associate Editor (1969-1970), AGON: Journal of
Classical Studies
Editorial Board, American Journal of Philology (January, 1982-January, 1987)
Delegate from Baltimore Society AIA to National Convention (1984-1986)
Vice-President, Baltimore Society of the AIA (1985-1987)
Co-Director, Exhibition on Roman Portraiture, Fisher Gallery (1989)
Co-Founder (with Dr. Diana Buitron) of the Classical Archaeological Society of the Mid-
Atlantic States (1978-87)
Founder and President of the Classical Archaeological Society of Southern California
(1987-present)
Member of the Ancient Art Council of the Los Angeles County Museum of Art (1987-
present)
Oversaw the publication and helped edit the newsletter “ARTFACTS” of the
School of Fine Arts (1993-1996) during my tenure as Dean of the School of Fine Arts
USC Representative to Advisory Council of the American Academy in Rome
(1993-present)
Comitato di Collaborazione Culturale to the Consul General of Italy at Los Angeles
(1995-1998)
Advisory Committee for the Virtual Reality Project for Ancient Rome (“Rome Reborn”)
(1996-1998)
Delegate from Los Angeles Society AIA to National Convention (Chicago, Dec., 1997)
Reviewer for the Getty Grant Program (1999)
Reviewer for the MacArthur Foundation Grant (2000, 2003)
Planning Committee for a Four-Year International Conference on “Roman Imperial
Ideology” at the Villa Vergiliana at Cuma (Naples), organized by J. Rufus Fears (2000-
2003)
Consultant for the Forum of Augustus Project: Sovrintendenza Archeologica Comunale,
Direzione al Foro di Augusto (2004-present)
Editor of the newsletter “Musings” for the Department of Art History, USC (2005)
Planning Committee for the Internation Bronze Congress in Athens, Greece (2006-2007)
Chaired two sessions -- “Roman Sculpture” and “Augustan Art” -- at the Annual Meeting
of the Archaeological Institute of America (San Diego 2007)
UNIVERSITY COMMITTEES AND OTHER SERVICE
Faculty Senate (1988-1991)
Advisory Committee to the Dean of the School of Fine Arts (1990-1991, 1992-1993)
Chairman, Personnel Committee of the School of Fine Arts (1988-1990)
Library Liaison Officer for Art and Architecture Library (1987-present)
Search Committee for Reference Librarian of the Art and Architecture Library
(1989-1990 and 2000)
University Library Committee (1989-1990, 1998-2001)
Recruitment Committee for the School of Fine Arts (1989-1995)
Space Allocation Committee, School of Fine Arts (1989-1990)
University Research Committee (1990-1991)
Promotion Committee, School of Fine Arts (1990-1995)
University Ad Hoc Committee on Revenue Center Management (1990-1995)
Committee for University Development, School of Fine Arts (1993-1995)
Development Task Force, the School of Fine Arts (1993-1995)
Consultative Committee to the Provost (Spring 1993-1995)
University Galleries Advisory Committee (1993-1995)
University Committee on Transnational and Multicultural Affairs (1993-1995)
Provost’s Council at USC (formerly Council of Deans) (1993-1995)
USC Representative to the Advisory Council of the American Academy in Rome
(1993-present)
Founder and Member of the Board of Councilors for the School of Fine Arts (1994-1995)
Consortium Council of Deans for Development at USC (1995)
Tenure and Promotion Committee, Department of Art History (1995-to present)
Recruitment Committee for Department of Art History in the College of
Letters, Arts, and Sciences (1996-2005)
Program Proposer for the Establishment of an Interdepartmental and Interdisciplinary
Ancient Mediterranean Studies Program (1997-1999)
Chinese Search Committee, Department of Art History (1998-1999)
Japanese Search Committee, Department of Art History (1998-1999)
Professor-In-Charge, USC-Getty Lecture Series, Seminar, and Faculty Dinner (honoring
Salvatore Settis) (1998-1999)
Curriculum Committee (Co-Chair) (1998-1999)
Chair, Committee for Selection of Departmental Chair (1999-2000)
Chair, Merit Review Committee (1999-2000)
Committee for the Establishment of an Undergraduate Major in Archaeology
(2002-present)
Greek Art Search Committee, Department of Art History and Classics (2001-2004)
Faculty Search Committee, Department of Art History: Senior Hiring Initiative (2003-
present)
Junior Faculty Review Committee, Department of Art History (2003)
USC’s Arts and Humanities Committee (2003-2004)
Chair of Oversight Committee for the Interdisciplinary Archaeology Major (Spring 2006)
MEMBERSHIPS IN NATIONAL AND INTERNATIONAL PROFESSIONAL ORGANIZATIONS
NATIONAL:
Archaeological Institute of America
College Art Association
American Philological Association
Association of Ancient Historians
Vergilian Society
INTERNATIONAL:
Deutsches Archäologisches Institut
Associazione Internazionale di Archeologia Classica
Association for the Study of Marble and Other Stones in Antiquity (AMOSIA)
Society for the Promotion of Roman Studies
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
portraitsofcaligula.com/
Both are non-profit sites and for educational use only.
Kinetica Art Fair provides a global platform for galleries, curatorial groups, design studios and artists working in the realm of interdisciplinary new media art. The Fair champions artistic innovation and popularises artists and organisations working at the convergence of art and technology.
Guiding Principle 1: Promote academic excellence, interdisciplinary inquiry, and vital intellectual communities
Cohesive “precincts” for the Natural Sciences, Social Sciences, Engineering and Applied Sciences, and Arts and Humanities will have distinct physical characters.
Cafes and other informal spaces will create dynamic communities for living and learning.
New Research Loft and Arts Loft buildings will provide flexible space for interdisciplinary work.
Guiding Principle 2: Promote three distinct but seamlessly interconnected campuses to promote interaction.
UB Stampede will be transitioned to a Bus Rapid Transit system that will provide faster, more comfortable and reliable service.
Reconfigured roadways will reserve pathways for future streetcar or light rail connections to downtown and South Campus, civilize Audubon Parkway, and pedestrianize the character of Putnam Way.
Guiding Principle 3: Be responsible to the larger community by shaping – and being shaped by – broader plans and policies.
Extended bike and pedestrian paths will enhance public recreation and provide safer commuter access from all directions.
Retention ponds will reduce the volume and improve the quality of stormwater entering the regional watershed.
Guiding Principle 4: Provide long-term capital planning and promote prudent stewardship of university resources.
Former professional school buildings will be renovated with reconfigurable academic spaces for more efficient scheduling.
Naturalization of the campus “outer ring” will decrease landscape maintenance needs.
Arboreal “snow traps” and reduced paved areas will cut snow management costs.
Guiding Principle 5: Establish UB as a leader in environmental stewardship and sustainable design.
Structured parking, stormwater biofiltration, and strategies to reduce single occupancy vehicle use will reduce polluted runoff from surface parking.
North Campus will become a “living laboratory” to educate students and the community about innovative strategies for environmental stewardship.
Guiding Principle 6: Use the excellent design of campus architecture, landscape architecture and interiors to create great and memorable places contributing to a high quality of campus life.
A dramatic new open space on Lake LaSalle will mark the intersection of the existing academic core and the new connection to the Ellicott Complex.
Flint, Coventry, Hamilton and Rensch loops will become ceremonial gateways to the campus flanked by expressive new buildings.
New architecture throughout the campus will meet or exceed the contemporary and thoughtful designs of the new School of Engineering and Applied Sciences and new South Ellicott Housing Complex.
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Located in the heart of San Francisco’s vibrant Mission Bay district, the UCSF Mission Bay campus stands as a beacon of cutting-edge healthcare and research. Opened in 2003, this campus was designed to foster interdisciplinary collaboration, integrating academia, research, and clinical care into one cohesive environment. The modern architecture is instantly recognizable, with sleek glass façades reflecting the ever-changing Bay Area sky, a symbol of transparency and forward-thinking design. The building in the attached photo showcases the architectural ambition of the campus, with its striking angular glass surfaces designed to catch and manipulate light. This specific structure houses a variety of UCSF’s top-tier programs in health sciences, fostering breakthrough discoveries.
Beyond its architectural significance, UCSF Mission Bay holds an important place in the local community and on a global scale. The expansive campus spans over 57 acres and includes several buildings, labs, and clinics. It is particularly well known for the UCSF Medical Center at Mission Bay, a state-of-the-art hospital that opened in 2015, specializing in pediatric, cancer, and women’s health services.
Insiders to the city often tout UCSF Mission Bay as one of San Francisco’s architectural gems. The integration of natural landscaping around its structures creates a serene environment conducive to both research and patient care. Proximity to local parks and waterfront areas only enhances its appeal. Whether you're exploring the health sciences or simply admiring its contemporary design, UCSF Mission Bay is a landmark of modern achievement in architecture, medicine, and community engagement.
Cassini project scientist at JPL, Linda Spilker, left, Cassini interdisciplinary Titan scientist at Cornell University, Jonathan Lunine, second from left, Cassini Composite Infrared Spectrometer(CIRS) Instrument deputy principle investigator Connor Nixon, second from right, and Cassini assistant project science systems engineer Morgan Cable, right, participate in a Cassini science panel discussion during the Cassini NASA Social, Thursday, Sept. 14, 2017 at NASA's Jet Propulsion Laboratory in Pasadena, California. Since its arrival in 2004, the Cassini-Huygens mission has been a discovery machine, revolutionizing our knowledge of the Saturn system and captivating us with data and images never before obtained with such detail and clarity. On Sept. 15, 2017, operators will deliberately plunge the spacecraft into Saturn, as Cassini gathered science until the end. The “plunge” ensures Saturn’s moons will remain pristine for future exploration. During Cassini’s final days, mission team members from all around the world gathered at NASA’s Jet Propulsion Laboratory, Pasadena, California, to celebrate the achievements of this historic mission. Photo Credit: (NASA/Joel Kowsky)
The high school teacher took the map project to a wonderful new level: the "map" was turned into an abstract painting!!! (Not quite finished.) Wonderful creativity - sparked by a simple idea! And a great case of the "instructor" learning from the "student!!!!!!"
I led workshops at a summer institute for teacherss: Trash to Treasure. Create Interdisciplinary Connections and Art Forms from recycled materials supporting environmental responsibility.
"Maps, Utopias, and Other Adventures"
Work by students in FNAR 331/631: Interdisciplinary Studio.
Instructor: Professor Jackie Tileston.
On view at Charles Addams Gallery from April 5–12, 2016.
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FNAR 331/361
This course takes an experimental multimedia approach to investigating some of the boundaries in contemporary art making practices. Painting, photography, video, design and sculpture intersect, overlap, and converge in complicated ways. Projects are designed to explore hybrid forms, collage, space/ installation, and color through a variety of strategic and conceptual proposals as students work towards unique ways of expanding their own work. Weekly readings, critiques, and presentations are integrated with studio projects.
The pioneering interdisciplinary art collective teamLab has opened the world’s first digital art museum in Tokyo. Called the Mori Building Digital Art Museum: teamLab Borderless, the 107,000 square foot venue features 50 hyper-colored digital works which immerse visitors in wild and whimsical worlds that are actually responsive to the movements of visitors.
The artwork is powered by more than 520 computers and 470 projectors and constantly changes so each time you return to a room, it's essentially a new piece. This place was so surreal.
The pioneering interdisciplinary art collective teamLab has opened the world’s first digital art museum in Tokyo. Called the Mori Building Digital Art Museum: teamLab Borderless, the 107,000 square foot venue features 50 hyper-colored digital works which immerse visitors in wild and whimsical worlds that are actually responsive to the movements of visitors.
The artwork is powered by more than 520 computers and 470 projectors and constantly changes so each time you return to a room, it's essentially a new piece. This place was so surreal.
This morning at Stanford. I asked if the model will be dynamic (e.g., will we lose 20% of jobs currently driving vehicles faster than new jobs arise)? "Yes, the transients are the most ambitious part of the model" -- Prof. Marco Pavone, seen here.
From the first annual Stanford Catalyst Future 10 Symposium, an interdisciplinary initiative to fund winning teams with $3m each for catalytic studies. I like this new name for what I think is the locus of meaningful innovation and potentially, the more rapid formation of new academic disciplines.
Cassini interdisciplinary Titan scientist at Cornell University, Jonathan Lunine, speaks to NASA Social attendees about the Cassini mission, Thursday, Sept. 14, 2017 at NASA's Jet Propulsion Laboratory in Pasadena, California. Since its arrival in 2004, the Cassini-Huygens mission has been a discovery machine, revolutionizing our knowledge of the Saturn system and captivating us with data and images never before obtained with such detail and clarity. On Sept. 15, 2017, operators will deliberately plunge the spacecraft into Saturn, as Cassini gathered science until the end. The “plunge” ensures Saturn’s moons will remain pristine for future exploration. During Cassini’s final days, mission team members from all around the world gathered at NASA’s Jet Propulsion Laboratory, Pasadena, California, to celebrate the achievements of this historic mission. Photo Credit: (NASA/Joel Kowsky)
First performance of "Vil denne augneblinken nokon gong sleppe taket" by Magnar Åm in Oslo City Hall at Oslo International Church Music Festival 2013.
With: Ellen Sejersted Bødtker (harp), Geir Draugsvoll and James Crabb (accordeon), Sizzle Ohtaka (vocal), Masahiro Saeki (oud), Haruhiko Saga (overtone singing and two-stringed cello), Saori Kojima (theremin), EyeKnee Coordination, Kevin Ho, Mina Nishimura and Uta Takemura (dancers), Einy Åm-Sparks (choreography and dance).
Volda Vokal, Jan Erik Vold, Ensemble 96.
Tyler Sparks (video artist), Stephanie Sleeper (costume designer), Magnar Åm (conductor).
Photo: Laila Meryrick.
Guiding Principle 1: Promote academic excellence, interdisciplinary inquiry, and vital intellectual communities.
The professional schools, together on one campus, will host a thriving interdisciplinary graduate experience.
A continuing education facility will include the community in the educational experience.
New informal learning spaces will revive the heart of the historic campus.
Guiding Principle 2: Promote three distinct but seamlessly interconnected campuses to promote interaction.
A complete loop road will improve on-campus vehicular circulation and wayfinding.
Each academic building will have a “front door” and street address on Hayes Road.
A new Transit Pavilion will orient visitors and act as a hub for inter-campus travel.
Guiding Principle 3: Be responsible to the larger community by shaping – and being shaped by – broader plans and policies.
A new amphitheater and landscaping will welcome public use of the campus “front yard” on Main Street.
Improved pedestrian and bicycle paths will connect to University Plaza and other commercial properties.
An expanded recreation center and fields will be opened to community recreation and fitness programs.
Guiding Principle 4: Provide long-term capital planning and promote prudent stewardship of university resources.
Historic and adaptable buildings will be renovated to accommodate the professional schools.
State-of-the-art new construction with lower lifecycle costs will replace non-adaptable buildings.
Guiding Principle 5: Establish UB as a leader of environmental stewardship and sustainable design.
Stormwater management will mitigate the impact of campus runoff on municipal systems.
Renovations and new construction will meet the highest standards of sustainable design.
Improved transit and bicycle access will provide alternatives to automobile use.
Guiding Principle 6: Use the excellent design of campus architecture, landscape architecture and interiors to create great and memorable places contributing to a high quality of campus life.
The historic layout of quadrangles and courtyards will inspire the design of new pedestrian-friendly spaces.
New and renovated housing suited to graduate lifestyles will expand the on-campus residential neighborhood.
A renewed Harriman Quad and adjacent programs will provide a center of gravity for campus life.
All new developments will meet or exceed expectations of design excellence, as exemplified by the current John Kapoor Hall project.
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Penn Theatre Arts Program
Spring 2016 Mainstage Production
April 7–10, 2016
@ Penn Museum
'The Eumenides' is the third play in Aeschylus’ great masterpiece, the tragic trilogy 'The Oresteia,' written more than 2,500 years ago. In response to the pleadings of his sister Electra and at the command of the god Apollo, Orestes has murdered his mother, Clytemnestra, who was wife and murderer of his father Agamemnon. As a consequence, Orestes finds himself tormented by the terrible Furies, hideous ancient goddesses of the underworld divinely charged with punishing blood murders. Guests follow the actors through Penn Museum’s third floor galleries.
Directed by Marcia Ferguson and featuring original music by composer Patrick Lamborn, this production is performed in collaboration with the University of Pennsylvania Theatre Arts Program’s Artistic Resident for 2016, Sebastienne Mundheim/White Box Theatre, who created the production design, with additional support from the Provost’s Interdisciplinary Arts fund.
theatre.sas.upenn.edu/events/theatre-arts-spring-2016-mai...
About 200 students and 34 faculty members across a wide range of health-related programs including physician assistant studies, speech and language pathology, audiology, public health, medicine, athletic training, exercise physiology, counseling, and pharmacy participated in a case study project to build teamwork and mutual respect for the roles of other professions in delivering quality care to patients.
About 200 students and 34 faculty members across a wide range of health-related programs including physician assistant studies, speech and language pathology, audiology, public health, medicine, athletic training, exercise physiology, counseling, and pharmacy participated in a case study project to build teamwork and mutual respect for the roles of other professions in delivering quality care to patients.
About 200 students and 34 faculty members across a wide range of health-related programs including physician assistant studies, speech and language pathology, audiology, public health, medicine, athletic training, exercise physiology, counseling, and pharmacy participated in a case study project to build teamwork and mutual respect for the roles of other professions in delivering quality care to patients.
About 200 students and 34 faculty members across a wide range of health-related programs including physician assistant studies, speech and language pathology, audiology, public health, medicine, athletic training, exercise physiology, counseling, and pharmacy participated in a case study project to build teamwork and mutual respect for the roles of other professions in delivering quality care to patients.
About 200 students and 34 faculty members across a wide range of health-related programs including physician assistant studies, speech and language pathology, audiology, public health, medicine, athletic training, exercise physiology, counseling, and pharmacy participated in a case study project to build teamwork and mutual respect for the roles of other professions in delivering quality care to patients.
This two-story state-of-the-art building at Brookhaven National Laboratory is a new, energy efficient and environmentally sustainable laboratory building that will provide modern, 21st-century, high-accuracy laboratories, offices and support functions. The building will group existing energy research scientists into one facility with collaborative environments to facilitate and realize the scientific benefits of multi-disciplinary collaboration. Work in the Interdisciplinary Science Building will focus on energy-related R&D enabling breakthroughs in the effective uses of renewable energy through improved conversion, transmission and storage.
The Shelby Interdisciplinary Biomedical Research Building at the University of Alabama at Birmingham (UAB).
This two-story state-of-the-art building at Brookhaven National Laboratory is a new, energy efficient and environmentally sustainable laboratory building that will provide modern, 21st-century, high-accuracy laboratories, offices and support functions. The building will group existing energy research scientists into one facility with collaborative environments to facilitate and realize the scientific benefits of multi-disciplinary collaboration. Work in the Interdisciplinary Science Building will focus on energy-related R&D enabling breakthroughs in the effective uses of renewable energy through improved conversion, transmission and storage.
This two-story state-of-the-art building at Brookhaven National Laboratory is a new, energy efficient and environmentally sustainable laboratory building that will provide modern, 21st-century, high-accuracy laboratories, offices and support functions. The building will group existing energy research scientists into one facility with collaborative environments to facilitate and realize the scientific benefits of multi-disciplinary collaboration. Work in the Interdisciplinary Science Building will focus on energy-related R&D enabling breakthroughs in the effective uses of renewable energy through improved conversion, transmission and storage.