Lindsay Dupertuis, Raino Isto, and Professor Emerita Renee Ater to Head to the Getty in the Fall

Starting this fall, three current or former members of the Department will relocate - temporarily - to the west coast, the Getty to be exact, where they will engage their scholarly practice in the stimulating evirons of this world-renowned Institute and Museum.

Lindsay Dupertuis at the Getty Museum, next to a bronze italian Sphinx, c. 1580Lindsay Dupertuis will serve for eight months as a Graduate Intern in the Department of Sculpture and Decorative Arts at the Getty Museum. The internship offers a full introduction to the work of the curatorial department devoted to European sculpture and decorative arts dating between around 1200 and 1900. In this position Lindsay will be able study the collection, its Nicola da Urbino, Flaying of Marsyas, c.1520smanagement and development, and its installation and interpretation. The work will include scholarly, bibliographical and provenance research on the permanent collection in preparation for online catalogues. The strong collection there in early modern Italian and French ceramics, glass, and silver complements her ongoing dissertation research on istoriato maiolica.





Just across the way, on the opposite side of Robert Irwin's Garden, Raino Isto will take up residence as a predoctoral fellow at the Getty Research Institute.Raino Isto There he will continue his dissertation Enisa Cenaliaj, Welcome, Dear Workers, 2005, performance at Kombinat textile factory, Tirana, Albania. Image courtesy of the researching post-socialist artists responding to socialist monumentality, and expand and refine the final two chapters of his dissertation, with an eye towards expanding this material for a book project. Raino's scholarly focus fits nicely with the Getty Research Institute's theme of "monumentality" for the coming academic year. His primary research questions are these: "1) why and how do contemporary artists in postsocialist nations engage with socialist-era monuments to understand their recent past and present conditions?; 2) what types of histories do artists use monuments to (re)discover, and how do specific monumental sites mediate the representation and understanding of these histories?; and 3) what new forms of community arise from postsocialist engagements with monumental heritage, and how are these forms of community related to the ones created during the socialist years?"



 Renee Ater at the Harriet Tubman houseLike Raino, Professor Emerita Renée Ater also will be in residence at the Getty Research Institute, but only for fall 2018. With support from a GRI grant she will work on her digital project Contemporary Monuments to the Slave Past: Race, Memorialization, Public Space, and Civic Engagement. The grant from GRI is one of three grants or fellowships that Professor Ater has been awarded in support of this worthy project, which investigates how we visualze, interpret, and engage the slave past through contemporary monuments to slavery. Professor Ater examines twenty-five monuments in three areas of the country - South, Midwest, and Northeast - in order to share the diverse ways in which America(ns) engage the slave past. From these twenty-five monuments Professor Ater considers six digital case studies that include monuments to the Transatlantic slave trade and the Middle Passage, slavery and the university, resistance to enslavement, Harriet Tubman and the Underground Railroad, black soldiers and the Civil War, and emancipation and freedom. Martin Puryear, Slavery Memorial, 2014, Brown University, Providence, Rhode IslandProfessor Ater says of her research that it is "predicated on the idea that the memorializatin of slavery is plural and multi-vocal, and is rooted in the interwoven nature of the social, the historical, and the spatial."



Congratulations Lindsay, Raino, and Renée! Go West, You Terps!