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FACULTY
"I am especially interested in the arts of eastern and southern Africa. These arts have often been dismissed as being merely decorative and utilitarian but are now proving to be as rich in form and full of meaning as the African masks and figures that have long been favored by Western audiences. My work emphasizes interdisciplinary approaches, and one of my principle goals is to collaborate with African scholars. I strongly feel that organizing exhibitions is one of the best ways to share the brilliance of African expressive culture with a broader audience. To that end I organized the exhibition, “The Earth Moves — We Follow”: Celebrating African Art for the McClung Museum here at the University of Tennessee (2003)." Bill
Dewey received his Ph.D. from Indiana University in African Art History.
He wrote his dissertation on the traditional art of the Shona people of
Zimbabwe. He has served as curator of several major exhibitions, including
Sleeping Beauties: The Jerome L. Joss Collection of Headrests at UCLA's
Fowler Museum of Cultural History (1994), Legacies of Stone,
Zimbabwe: Past and Present at the Royal Museum of Central Africa, Tervuren,
Belgium (1998) and "The World Moves, We Follow": Celebrating
African Art at the Frank H. McClung Museum of the University of Tennessee
(2003). His publications include the catalogues for these exhibitions
and a chapter entitled "Forging Memory," in the College Art
Association's award winning catalogue MEMORY: Luba Art and the Making
of History (1996). His interest in African iron art led to an exhibition
and catalogue entitled Iron, Master of them All (1993); the video,
Weapons for the Ancestors (1992); an article entitled "AK-47s
for the Ancestors," that appeared in a special issue of the Journal
of Religion in Africa (1994) and a chapter, "Iron Sculpting
in Africa" for the Museum of African Art's Material Differences:
Art and Identity in Africa (2003). He served as President of the
Arts Council of the African Studies Association of America (1995-97),
the largest international organization of art historians, anthropologists
and museum professionals studying the arts of Africa and the African Diaspora. "I am drawn to the study of urban architecture because it breeds a certain tension between the city itself as a built environment and the individual buildings that define the built environment. In fact, scholarly study of a city is not unlike the physical experience of the city. Both enterprises call for a bifocal approach predicated on an appreciation of the city as a monument and architecture as the medium of its creation. Urban architectural “bites” are relatively small, but their accumulation takes on a form and content the exact nature of which is complex beyond that of any one unit. In my work I try to recover the original relationship between a building, or any work of art, and its larger environment in an effort to reclaim something of its original magic." Dorothy Metzger Habel is a scholar of seventeenth-century Italian art whose research focuses on the architecture and city planning of papal Rome. Her recent book The Urban Development of Rome in the Age of Alexander VII (Cambridge University Press, 2002) examines the role of discrete zones within the city, including the Quirinal, Piazza del Popolo, Piazza S. Marco, Piazza Colonna, via del Corso and Piazza S. Pietro, in establishing Pope Alexander VII’s new conceptualization of the city as one reviving the architectural formulae of late-antique Roman Asia. In addition, she has published studies on the architecture and sculpture of Bernini, the architecture of Pietro da Cortona and the architectural history of Piazza S. Ignazio, Rome in the seventeenth and eighteenth centuries. She received her M. A. and Ph.D. in the History of Art from the University of Michigan.
"I have always been intrigued by the ability of the avant-garde to move society forward. This aspect of art and its interdisciplinary nature form the basis of my research. The cultural centers of Vienna and Munich in the late nineteenth and early twentieth centuries, where the avant-garde clashed with a glorious tradition, have been the focus of my explorations." Timothy
W. Hiles received his Ph.D. from Penn State University where his studies
emphasized the early modern movement in Central Europe. Among his publications
are Thomas Theodor Heine: Fin-de-Siècle Munich and the Origins
of Simplicissimus (1996) and “Klimt, Nietzsche and the Beethoven
Frieze,” which appeared in the series Cambridge Studies in Philosophy
and the Arts (1998). Dr. Hiles’ research emphasizes the role
of an interdisciplinary approach in the study of the avant-garde. His
interest in using technology in the classroom led to his creation of one
of the earliest comprehensive art history web sites in the country and
to the publication “Web-Site Enhancement of Traditional Classroom
Pedagogy” (1999).
"My focus on American art history incorporates contextualist issues. I tend to begin a study by focusing on a small, seemably out-of-the-way, visual “event.” Then, drawing upon social, political and/or gender issues that promise to give the event significance beyond itself, I expand my research. The process much resembles a fishing trip. The odd little event is the bait and there are often no bites. But there is much exhilaration when a big one is landed." Frederick C. Moffatt, whose special interests are nineteenth and twentieth-century American art, has been on the faculty since 1969. He is a graduate of Arizona State University, M. A., and the University of Chicago, Ph.D. Among his awards is a Smithsonian Post-Doctoral Fellowship (1989). He is the author of a number of articles and catalogs. Among his book-length publications is Arthur Wesley Dow, 1857-1922, (Smithsonian Institution Press, 1977), which accompanied a national exhibition of the artist’s work that he directed, and Errant Bronzes: George Gray Barnard’s Statues of Abraham Lincoln (University of Delaware Press, 1998).
"My
work explores the role of images in visualizing and promoting certain
attitudes and ideologies in western culture. My focus on the thirteenth
century reflects an interest in a transitional period, when changing systems
of thought, including the Franciscan movement, encouraged a new naturalism
and A specialist in medieval art, Amy Neff received her Ph.D. from the University of Pennsylvania. Her thesis studied the artistic interaction between two medieval cultures, Italy and Byzantium. Recent publications have focused on the impact of the Franciscan movement on the arts and on the imagery of women. These include “The Pain of Compassion: Mary’s Labor at the Foot of the Cross,” in The Art Bulletin (1998), and “Palma dabit palmam: A Franciscan Program of Devotion,” in the Journal of the Warburg and Courtauld Institutes (2002). She is a contributor to the catalogue of Byzantium: Faith and Power, 1261-1557, a major exhibition that will open at the Metropolitan Museum of Art, New York, in March 2004. Dr. Neff’s awards include the Rome Prize of the American Academy in Rome and fellowships from the Center for Advanced Studies of the National Gallery of Art, the Harvard University Center for Renaissance Studies at Villa I Tatti, and the National Endowment for the Humanities.
Suzanne Wright received her M. A. from the University of California, Berkeley, and her Ph.D. from Stanford University where she wrote a dissertation on “Cultural Literacy and Social Identity in Woodblock-printed Letter Papers of the Late Ming Dynasty.” Her article “Luoxuan biangu jianpu and Shizhuzhai jianpu: Two Late-Ming Catalogues of Letter Paper Designs” will appear in Artibus Asiae in 2004. Prior to pursuing the doctorate, she was Assistant Curator of Far Eastern Art at the Los Angeles County Museum of Art. Her area of specialization is the visual culture of seventeenth-century China.
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