In the summer 2023, Dr. Amy Nygaard and graduate students Michaela Peine and Madeleine DeGrace travelled to Amsterdam with the support of a Graduate Research Team Grant from the Center for Faculty Development at UST. Their research project titled, Decoloniality, Decentering, and Didactics: Close Analysis of Antiracism Methodologies in the Rijksmuseum, closely examined 77 gallery labels that were written to highlight each object’s connection to the human slavery for the museum’s 2021exhibition “Rijksmuseum & Slavery”. These 77 labels were juxtaposed with the existing object labels for that exhibition. When the research team visited the Rijksmuseum in 2023, many objects included in the “Rijksmuseum & Slavery” had new, what the team called “third label or reconciled” label that synthesized information from the previous two labels. With all of this text in hand, the research team set out to do a careful rhetorical analysis of labels.
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Michaela Peine presenting at 40th Annual Art History Graduate Student Symposium
In the beginning of March, Michaela Peine was invited to present her paper, “Tangible Devotion: A Tactile Understanding of Fra Angelico’s Virgin Enthroned,” an excerpt from her QP research, at the Florida State University 40th Annual Art History Graduate Student Symposium. Presenting this paper gave Michaela an opportunity to hone her research and writing, presenting a facet of her work and receiving feedback that will contribute to her ongoing research.
Michaela’s paper focused on a small double-sided panel entitled Virgin and Child Enthroned with Saints Peter, Paul, and George, Four Angels, and a Donor, painted c. 1446 by Fra Angelico. This research argues that this panel shares many key similarities with deschi da parto—the trays presented to women upon giving birth—but also that it also contains vital elements that mark it as a devotional object, not meant to be given to a new mother, but instead deliberately borrowing the iconography of birth trays in order to operate as an item of devotion for a male donor. Virgin Enthroned is not a static art piece; rather, the physical qualities of this panel reveal that this is an object that is meant to be held closely, turned over, and passed from hand to hand. By understanding the tactile qualities of this painting and imagining the spatial and physical environment it would have inhabited, it is possible to examine the psychological and spiritual narratives within Virgin Enthroned. Through this methodology she seeks to “embody” the piece, understanding its spiritual impact through its sensory qualities. Activated by the physical presence of the viewer, this tiny panel encapsulates the complex relationship between art, religious devotion, civic engagement, and the gendered gaze in quattrocento Italy.
Michaela was invited to submit her paper for publication with Athanor, the graduate publication of the Art History department at Florida State University. Her paper will be published in November, and she will present her QP in December.
Harrison Peck is an Art History/Archaeology Graduate student at the University of St. Thomas. His work over the summer of 2024 in Sveti Klement, Croatia was focused on the archaeological site at Soline Bay under professors Ivancica Schrunk and Vanessa Rousseau. His areas of focus in academics are Republican Rome and Early America, and he is particularly interested in archaeology and museum administration.
During the 2024 excavation at Soline Bay, Harrison worked with a Roman site that likely produced salt, wine, olive oil, and garum (a type of fish-sauce). He also assisted with both the actual excavation and the cleaning and organizing process afterwards on-site. This project followed an interdisciplinary approach through combined work from staff, faculty, and students with a variety of backgrounds in archaeology, history, geology, and art history. Harrison’s overall project focus for this season was the field of museum ethics and cultural heritage. Specifically, he analyzed museum methodology, cultural approaches toward history, and Croatian cultural property laws to identify how different countries both recognize and utilize historical and archaeological sites/objects.
The project’s initial stages involved setting up the excavation site and estimating the location of the old Roman wall. The located wall was in much better condition than expected – walls from the early Roman period are usually better cut than those from later periods and were almost always repurposed for other structures. Excavation continued to the lower layers where the digging ran close to bedrock and the wall’s foundation could be identified, which took most of the remaining time that had been allotted for the dig. The excavation team had other projects running alongside the primary excavation, which members of the crew assisted with as needed.
The geology team focused on core sampling and surveying, which added to the knowledge of the site’s geographic evolution; other areas of the site were cleared of brush and debris to allow for surface level examination. During the excavation, Harrison assisted Tom Schrunk with the archaeological photography of the site, taking photos and measurements of both the primary excavation and other areas. Toward the end of the excavation, the crew worked to clean and organize discovered pottery by layer, allowing future research to more easily examine the material and conclude roughly when and where it was deposited. The dig concluded with laying geocloth and backfilling the site to protect the old Roman wall. Discoveries from this year’s dig include a large number of tesserae (rectangularly-cut pieces of stone used to create mosaics), an ancient coin, and some fresco work. Additionally, they uncovered a great deal of different types of pottery; some retained slip, others were likely locally-made, and still others were imported, as they contained clay types identified as coming from the Levant and other areas.
At three points during the trip (before, during, and after the excavation), Harrison visited museums, archaeological archives, and local tourism-oriented sites of historical influence to investigate the cultural use of historical objects and their roles in modern Croatian culture. During these trips, he spoke with a number of experts including archaeologists, divers, museum managers, and curators to investigate Croatian cultural heritage laws and their application. The combined experience of the museum studies element and the excavation itself provided Harrison with a solid foundation for both museum-centric cultural heritage theory and hands-on archaeological experience.
In September 2023 Art History graduate student Nicole Petersen (@nicole.etal_ travelled to Florence and Siena via a travel grant awarded by the department. They visited Italy to work on their Qualifying Paper project, which focuses on the hexagonal bowl in Pietro Lorenzetti’s “Birth of the Virgin” altarpiece (1335-1342) and how women experienced the work in its original placement in Siena Cathedral.
The first photo shows a selfie of them from the top of the Torre del Mangia with Siena Cathedral in the background. The second photo shows one of the many detail photos of “The Birth of the Virgin” they captured to utilize in their paper.
2024 Travel Highlights: Emily Ross in Chicago
Emily Ross (she/her) is a graduate student in the Art History department. She works at the Minneapolis Institute of Art, and her focus of studies is on the reinterpretation of medieval art in later revival eras.
In April of 2024, she presented her paper, “Adorning Mary: The Brooch in Latter Quattrocento Florence,” to the Midwest Art History Society (MAHS) annual conference in Chicago. The paper focused on the presence of brooches in Madonna and Child paintings in Florence, and their relative boom in the 1460s and 1470s, corresponding to the height of productivity for goldsmith-painters and sumptuary law prescribing and limiting the wearing of brooches for women at the time. Other papers in the panel discussed violence and sensuality in Florentine mannerist sculpture and the continuous motif of Mary revealing Christ from under a blanket in Paduan art.
The conference was held at the Art Institute of Chicago, and at the various buildings that the School of the Art Institute owns, with keynote addresses surrounding the opening of the exhibition “Picasso: Drawing from Life.” There were also tours of the prints and drawings study room and of the Smart Museum’s Modern Meiji exhibition.
Emily’s talk was very well received, garnering compliments from those who had not even been in attendance but heard it was a highlight from those who did attend.
2024 Research Travel: Madeleine DeGrace in London, Kew, and Beaulieu House, Southhampton
In January of 2024, Madeleine DeGrace had the opportunity to complete research for her Qualifying Paper at Beaulieu Palace House near Southampton, the British National Archives in Kew, and the Imperial War Museum in London.
How far along are you in the program?
- 2 years, this is my 4th semester! I am planning on graduating in December 🙂
What is your area of interest?
- English country house architecture and their uses in WWII as espionage training schools
Do you work? On campus/off?
- I have an internship at Minnestoa History Center in their Interpretive Programming division, and I am one of the gallery guards in the American Museum of Asmat Art at St.Thomas
Where were you traveling?
- I went to England for one week, specifically to Southampton and London to visit Beaulieu Palace House, the Imperial War Museum and the National Archives to see first-hand the sites and artifacts connected to my Qualifying Paper with Professor Victoria Young.
Why did you have to go there?
- It was primarily to view Beaulieu House in person and gather as much information as I possibly could that wouldn’t be available in the US. For architectural research (as with all research) it’s important to see and be in the space you are interpreting, otherwise you don’t really feel a connection to the space. The British National Archives are pretty locked down in terms of online access, so a lot of the primary source documents I needed had to be accessed in person.
What institution/person did you work with at the location?
- I scheduled a visit with Beaulieu palace house staff to have them give me a private tour walking through the house, and that was quite valuable, but at the IWM and the National Archives, that was primarily led by me. I was able to reserve a ton of documents to view at the national archives and they had them ready for me to look through.
What was the content of your research?
- I was looking at the house and its history, most importantly, looking at how it was used as a training school for the SOE in WWII. Most of the documents I was pulling at the National Archives and the research I was doing at the Beaulieu House focused on the SOE training schools at these sites and how a grand old country house could be used as a training school.
How were your days structured?
- Most days were a quick breakfast, museum/site visit trip for the whole day, hunker down for dinner and relax. It was pretty lowkey and chill because it was pretty cold and got dark really early, and both my dad and I ran out of steam after a long day of museums (museum fatigue is really real!)
What was your favorite part of the findings/research results?
- This research is a continuation of my undergraduate senior thesis, in which I studied female agents of the SOE, so for me to get to walk on the same grounds as these women whom I looked up to is really important to me. I found that research so important since many of these women were looked down upon in the immediate post war, so for me to see them in exhibit galleries on walls or to see objects that were connected to them directly was my favorite part of the research. Also, at the National Archives, I pulled out the personnel files of all of the women I studied and to see their handwriting and look through their documents was also so special to me and important.
Anything else notable about the trip/the work you did?
- My dad and I drove on the wrong side of the road down country lanes in the New Forest and it was very stressful! But it was very fun! My mom is also a flight attendant for United so we flew standby there and back and we were able to fly business class both ways, which slays.
- I got to hear Big Ben and St Paul’s Cathedral’s chimes, which was very cool!
Renaissance Florence: Ghirlandaio’s quattrocento goldsmith promotional frescoes
In a seminar on early Renaissance Florentine art with Dr. Lois Eliason, Ingrid became interested in the frescoes of Domenico Ghirandaio (1448-94), one of the most celebrated artists of the late 15th century in Florence. Her research on his Birth of the Virgin (1485-90) fresco in the Tornabuoni Chapel at Santa Maria Novella became the foundation for her Qualifying Paper topic, and draws on a variety of methodologies – including stylistic, feminist, materialistic, and theories about sensory experience in art – to better understand the artist’s work and contributions.
Ingrid had two hypotheses that were crucial to investigate in-person: Firstly, how did Ghirlandaio intentionally introduce sound into his frescoes, creating a multi-sensory experience? Secondly, how did Ghirlandaio’s involvement in his family’s goldsmith business influence his art in comparison with his contemporaries?
Through a travel grant awarded by the Art History department, Ingrid was able to explore these questions onsite in Florence, providing her with an a wealth of contextual information that simply would not have been possible through digital or library research alone. Some particularly valuable scholarly experiences including attending a mass a Santa Maria Novella to experience the acoustics Ghirlandaio would have been working with, and the discovery of a golden plate at the Bargello Museum that was nearly identical to one depicted in Ghirlandaio’s Santa Fina fresco (1477-78). These will be important contributions to her qualifying paper.
What if traditional Chinese paintings of identifiable places relate what the artists or patrons actually experienced at the site? This seems a basic question. Yet, it has not been a focus of study in Chinese landscape painting scholarship. This query lies at the core of my research. In my work, I argue that an entire subset of seventeenth-century paintings relates the visual experiences of traditional Chinese travelers and tourists. I was offered the opportunity to present my ideas to an international group of scholars last spring in Berlin.
The DFG (Deutsche Forschungsgemeinschaft) Research Group “Transcultural Negotiations in the Ambits of Art,” invited me to present a paper at their international conference “The Itineraries of Art. Topographies of Artistic Mobility in Europe and Asia, 1500-1900,” at the Freie Universität Berlin, in late May. The conference organizers sought to “investigate the role of itineraries and their crossroads in Europe and Asia as an organizing principle of artistic exchange.” Over the course of three panels, the conference group examined various “itineraries of art” as channels of communication in order to “explore their implications as modes of artistic experience.” I participated in Panel B, “Symbolic Itineraries and Topographies – Framing Roads and Routes.”
My paper focused on the seventeenth-century Chinese topographical paintings I have been researching. Over the course of China’s three thousand years of painting history, artists developed a variety of ways to depict specific places, from individual scenes to journeys through landscape that involve several scenes, creating a panorama. Scholars of Chinese art have discussed topographical paintings of this type as religious, political, social, cultural and stylistic narratives of their creators and audience. In these readings, however, the painter or patron has served as the narrative focus, while the surrounding landscape has been interpreted as a backdrop through which the focal person moves. My lecture reversed this priority. I still examined the focal person as an important element of the work. However, I identified the journey landscape as the active agent of the painting’s narrative. I believe this reading to be useful because it allows the landscape to take center stage as the primary player within the painting. Now it is the landscape, rather than the person, that narrates the journey and explicates its meaning. I have labeled landscape journey paintings that lend themselves to this reading “geo-narratives.”
This new type of study requires a new methodological approach. My talk, then, was as much about introducing this approach, as it was about presenting an argument about a specific artwork. Art historians that focus on Chinese painting have traditionally developed their connoisseurship skills by studying a variety of paintings representative of certain artists and types. Knowledge of various calligraphic writing styles to read inscriptions, and the ability to decipher the red seals affixed to paintings that identify its artists and viewers, are other foundational skills of the field. In this century, scholars have also worked to place paintings within their religious, historical and literary contexts. My reading requires on-site study of topography and a consideration of the viewing experience of such topography to the interdisciplinary art historical repertoire. I locate and document the places depicted in the paintings I study. For example, I have examined the famous sites of Suzhou, such as Tiger Hill 虎丘, as well as those that have been not only forgotten, but also abandoned, like Mount Zhixing 支硎山 to understand artists goals and patrons expectations in renderings of them. My goal in such situations is to consider my own experience of moving through and seeing the geography of the sites in relation to their painted counterparts. These journeys reveal an entire site-painting lexicon utilized by Suzhou artists to represent the unique somatic and visual experience of the topography, architecture and views of each site. Paintings of Tiger Hill, for example, focus on the most well known sites at the summit of the mountain. This has been understood for some time. Only travelers sensitive to their experience of the mountain, however, note that the painted sites are illustrated facing the perfect location from which visitors might enjoy the many theatricals performed at the summit on festival days.
Remarkably, one is able to recreate many seventeenth-century journey experiences such as this throughout modern China. For example, in my studies of the sites around Kunming, Yunnan in southwest China, I have been able to find many of the sites illustrated in paintings produced in the seventeenth century. The famous Mount Taihua 太華山, for example, still boasts a monastery of the same name from which one may enjoy a view of the nearby lake lauded by countless visitors hundreds of year ago as “Endless Expanse of Blue” (Yibiwanqing 一碧萬頃). A plaque commemorates the view today. Understanding the implications of this extensive view allows us to read paintings that contain it differently. My goal was to convince listeners that by comparing the experience of an actual site such as this with its painted counterpart scholars can better understand how topographical paintings narrate the distinctive vision of individual players and their place in the world. A painter who illustrated the “Endless Expanse of Blue” from Mount Taihua, for example, conveyed not only the importance of this particular monastery in southwest China to the painting’s recipient, but he also implied an entire philosophical and literary tradition of sagehood keyed to expansive views. Only viewers who had climbed Mount Taihua could understand all of the implications of the view from this site.
Certainly, much has changed in China since the seventeenth century. Some sites have been geologically and culturally altered by time. Little original architecture remains. Tourism, the government and commerce have touched every site in some way. For these reasons I have not depended too heavily on the contemporary conditions of these sites. Even so, many have been carefully preserved or reconstructed, and the relationship of the updated architecture with the geography can sometimes present a physical experience roughly similar to that enjoyed by seventeenth-century visitors. Because care is also advisable in interpreting how a specific person or group received a certain view, I heavily qualify my visual experience of the sites with writings contemporaneous to the paintings. I use commentaries by seventeenth-century writers of gazetteer entries, travel records and colophons to balance my own modern reception of these sites and cross-reference these with analysis of earlier and contemporary site paintings indicative of traditional viewers’ ways of seeing and experiencing such works.
Using this variety of research methods I have developed a new reading of paintings that illustrate specific places. This reading takes these paintings to be “geo-narratives” that describe, through images and paratexts, a site-specific topographical journey in which the built and natural environment actively narrates the story and produces some kind of transformative effect on the viewer. Geo-narratives relate a wide range of geographical experiences, from visits to specific scenic locations to tours through groups of sites. Geo-narratives were structured to recreate a journey, commemorate an event, honor an individual, raise funds for a site, evoke nostalgia for the past, illustrate a philosophy, even summarize a life. The artists, subject matter and styles of geo-narrative paintings vary, but they all tell a structured journey-story through an identifiable landscape with an intended effect on viewers.
Heather Shirey: Pierre Verger, Carybé, and the Creation of Candomblé’s Iconic Imagery
Heather Shirey is an Associate Professor in the Department of Art History. Her research on Candomblé’s material culture has been published in African Arts and Nova Religio. Her current project focuses on Pierre Verger and Carybé, two non-Brazilian artists who settled in Salvador da Bahia in the mid-twentieth century. The public’s perception of Candomblé was in flux during this time period, and Shirey argues that Verger and Carybé were responsible for creating iconic representations of a religion that, up to that time, had been largely invisible in the public sphere.
Candomblé is an African-Brazilian religion that emerged in the context of slavery in Brazil’s northeastern region. Fearful that the religion would serve as a form of resistance and provide unification for the marginalized African-Brazilian population, the dominant culture sought to repress Candomblé. The religion and its practice was criminalized and actively denigrated when it was acknowledged in the public sphere. Even well after the abolition of slavery in 1888, Candomblé remained largely hidden behind closed doors, invisible to the dominant culture.
Attitudes toward Candomblé began to shift in the 1930s and 1940s, as Brazil sought to redefine its multi-racial history as a positive aspect of its national identity. This was made particularly evident in late 1940s, at which time popular magazines began to publish photographic images of initiates in trance and intimate portraits of Candomblé’s leadership. In the decades that followed, colorful paintings captured key ceremonial moments and conveyed the essence of Candomblé’s orixás (deities). These enduring representations of Candomblé were produced by Pierre Verger (1902-1996), a French documentary photographer, and Héctor Bernabó, better known as Carybé (1911-1997), an Argentine painter. Both men, foreigners with a passion for travel, settled in Salvador da Bahia, the stronghold of Candomblé in northeastern Brazil, in the mid-twentieth century. Over the next five decades, working in dialogue with one another, Carybé and Verger became deeply involved with Candomblé. They traveled widely both in West Africa and in Brazil, producing thousands of images that, I argue, form the canonical representation of the religion. These images tended to emphasize aspects of the religion that seemed exotic to the broader public.
In my current research project, I examine Verger’s photographs and Carybé’s paintings and sculptures in the broader context of efforts by their contemporaries to provide legitimacy to a religion that the dominant culture rejected as impure and dangerous. Anthropologists working in the 1930s-40s promoted Candomblé as a “pure” religion because of persistent connections to West African practices. Similarly, I argue that Verger and Carybé created a parallel, canonical visual representation of Candomblé. The two artists produced beautifully appealing images of Candomblé ceremonies, often drawing specific visual comparisons to Yoruba practices from West Africa, thereby codifying an image of Candomblé as a religion closely tied to West African traditions. In this way, Verger and Carybé opened the door to a world that was largely invisible to mainstream Brazilians, particularly beyond Brazil’s northeast.
Works by Verger and Carybé have had a lasting impact on the visual representation of Candomblé, as I seek to document through my research. Specifically, I argue that the two artists’ particular views of Candomblé continue to resonate in renditions of the religion in public art and popular culture, as well as self-representation within Candomblé communities. Today, representations of Candomblé are visible throughout the city of Salvador in the form of sculptures and paintings in the public sphere. I argue that recent works, such as Tatti Moreno’s Orixás (1998) located on the Dique do Tororó, are not just based on contemporary observations; these contemporary representations are also inspired by the works of Carybé and Verger.
Gretchen Burau: Among the Asmat: The Schneebaum Perspective
Gretchen Burau is the Curator for the exhibition “Among the Asmat: The Schneebaum Perspective,” on view in the Gallery of the Anderson Student Center from September 4 to December 20, 2013. Mrs. Burau is the third graduate student to develop an exhibition for the American Museum of Asmat Art at the University of St. Thomas.
Before applying to St. Thomas I was unfamiliar with Asmat, having spent most of my academic career focused on Western art. After learning about the AMAA@UST’s extensive collection of Asmat Art, I decided to enroll in Dr. Julie Risser’s “Presenting Pacific Collections” course in Spring 2012. It was my first semester at St. Thomas and I was thrilled to be exposed not only to Asmat culture and art, but also individuals who aided in the preservation and commissioning of many objects now owned by the AMAA.
While researching for my final paper, I came across the work of artist and anthropologist Tobias Schneebaum, who first came to Asmat in summer 1973. It was during this time that he became involved with the Catholic mission and was introduced to Bishop Alphonse Sowada and Father Frank Trenkenschuh. Through this encounter, Schneebaum came to live and work in Asmat, eventually becoming the Assistant Curator of the Asmat Museum of Culture and Progress in Agats, Indonesia. One of Schneebaum’s finest contributions to the museum can be found in the skillfully executed drawings he made for Asmat Images, published in 1985. His illustrations were among the first published documentations of Asmat art and were instrumental in making the objects accessible to interested individuals who might not have had direct access to the art.
Through these drawings, Schneebaum would gain a detailed understanding of repeated imagery and was eventually able to decipher specific symbols and their meanings. Consequentially, he formed connections that helped tie certain villages and specific artists to their art, which was carefully recorded for the museum. The importance of the images has increased with time, as many of the cataloged pieces were made for ceremonial purposes and were not designed to endure after fulfilling their ritualistic tasks. As the years passed, many of these artifacts have deteriorated due to insects and the harsh jungle climate. Thankfully, Schneebaum’s drawings remain to attest to a distinctive art style made by a culture that today is rapidly changing.
Beside drawings, Schneebaum wrote several books, including Where the Spirits Dwell, highlighting his time in Asmat. His autobiographies were written with an artist’s sensibility, as shown in Secret Places: My Life in New York and New Guinea, where Schneebaum recorded:
Asmat bewitches me.
I often feel possessed there, but what it is that possesses me is unclear. The forest churns up my insides when I am in the midst of immense trees in soggy soil, vines, and plant life that exude odors of decay. The forest continually draws me into conjuring up dreams of living naked, hunting wild boar and cassowary, birds and possum, and spending days in blinds awaiting whatever animal would come, killing it, skinning it, roasting it, eating it.
At times when traveling with no one but my paddlers, I sit in the canoe or lie down on my pandanus mat in the men’s house and allow my mind to wander at will. I am impressionable: I am a million miles or more away. I am on some star of Orion or perhaps it is Sirius, brightest of them all. Perhaps I become one of the daughters of Atlas in the cluster of the Pleiades, or I am in some distant nebula, hurling myself headlong into the Void, through the night sky, a meteorite of myself landing easily on a star.
Throughout my life, I have been searching for a way to connect with other human beings. Suddenly, I find myself in a forest among the Asmat, living in their world of spirits, where I lose my insecurities and am content.
What brought me to this stage in the history of my life? Where did I go right? How did I finally choose a path out of oblivion, the path itself so marvelous to behold? I would not change that path even if it were possible to do so. (1)
Because of his tireless efforts, many museums, including the American Museum of Asmat Art @ UST and The Metropolitan Museum of Art have more diverse Asmat collections, with rare objects not to be found elsewhere. While traveling, Schneebaum was careful to record pertinent information: “I wrote in my journal several times a day; I put down everything I could remember of the trip from Agats and began taking notes on whatever I saw in the house: the sago bowls of wood and leaf in the racks, the digging sticks, the drums and spears and bows and arrows. I recorded the way the house was constructed, the number of adults and children; I made a plan of the fireplaces, with the names of those who sat and slept there, and I tried to make out how the food was divided, a complex subject I was never able to understand.”(2)
As a practicing artist, I had a natural affinity for Schneebaum’s drawings and observations. His work provided an avenue for me to access Asmat art and after completing Dr. Risser’s course, I was curious to learn more about the culture. I applied for the Assistant Curator assistantship at the AMAA and was fortunate to receive the position, quickly going to work on the fall 2012 exhibition, “Building the Collection: Recent Gifts and Purchases.” Having previously curated two-dimensional art exhibitions, this experience exposed me to sculptural objects and the challenges related to their mounting, transportation, and presentation.
As the academic year progressed, I assisted with Rachel Simmon’s exhibition “Wowipitsj: Man, Myth, Legend.” While working on these two shows, I continued to research Tobias Schneebaum and discovered that the University of Minnesota’s Jean-Nickolaus Tretter Collection houses his personal papers. Purchased from Schneebaum by University Libraries in 2004, the collection contains 33 boxes of personal correspondence, illustrations, and other materials related to various aspects of Asmat Art. Most notably, the collection contains a drawing Schneebaum made of Amandos Amonos, the main carver of the wuramon or soulship owned by the AMAA@UST.
These curatorial experiences combined with academic research led me to propose an exhibition of AMAA@UST art objects, illustrations, text, and video related to Schneebaum’s time in Asmat. “Among the Asmat: The Schneebaum Perspective” is a comprehensive showing of AMAA@UST art related to the work of Tobias Schneebaum. Arguably the most ambitious Asmat exhibition to be shown in the Gallery, it features twelve shields, two large carved crocodiles and many other objects that have not previously been on view at the University of St. Thomas.
I plan to use the Asmat-related information and experiences I have acquired over the past two years to prepare for my final qualifying paper in the M.A. program. Recently I contacted the Metropolitan Museum of Art, which has a Schneebaum archive that includes his personal documents and art objects. I hope to travel to New York during the next academic year to do research for my final research project and to provide the AMAA@UST with additional materials related to the Asmat.
NOTES
(1) Tobias Schneebaum, Secret Places: My Life in New York and New Guinea (Madison: University of Wisconsin Press, 2000), 3.
(2) Tobias Schneebaum, Where the Spirits Dwell (New York: Grove Press, 1988), 39.