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History of Art

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Loria Center, Rm. 251, 203.432.2668 http://arthistory.yale.edu M.A., M.Phil., Ph.D.

Chair Milette Gaifman (Loria 557, 203.432.2687, [email protected] )

Director of Graduate Studies Edward Cooke, Jr. (Loria 654, 203.432.2724, [email protected])

Professors Carol Armstrong, Tim Barringer, Marisa Bass, Edward Cooke, Jr., Milette Gaifman, Jacqueline Jung, Pamela Lee, Kishwar Rizvi, Nicola Suthor, Mimi Hall Yiengpruksawan

Associate Professors Craig Buckley, Cécile Fromont, Jennifer Raab

Assistant Professors Joanna Fiduccia, Subhashini Kaligotla, Morgan Ng, Quincy Ngan

Fields of Study

African art; African American art; Byzantine art and architecture; Caribbean art; contemporary art; early modern art and architecture; East Asian art; eighteenth-century art; film and media; global modernisms; Greek and Roman art and architecture; history of photography; Indian Ocean art; Indigenous art; Islamic art and architecture; Italian Renaissance art and architecture; Latin American art; material culture and decorative arts; medieval European art and architecture; modern architecture; modern art; Netherlandish, Dutch, and Flemish art; nineteenth-century art; North American art; Northern Renaissance art; Precolumbian art; South Asian art and architecture; Southern Baroque.

Special Requirements for the Ph.D. Degree

All students must pass examinations in at least two languages pertinent to their field of study, to be determined and by agreement with the adviser and director of graduate studies (DGS). One examination must be passed during the first year of study, the other not later than the beginning of the third term. During the first two years of study, students typically take twelve term courses. In March of the second year, students submit a qualifying paper that should demonstrate the candidate’s ability successfully to complete a Ph.D. dissertation in art history. During the fall term of the third year, students are expected to take the qualifying examination. Candidates must demonstrate knowledge of their field and related areas, as well as a good grounding in method and bibliography. By the end of the second term of the third year, students are expected to have established a dissertation topic. A prospectus outlining the topic must be approved by a committee at a colloquium by the end of the third year. Students are admitted to candidacy for the Ph.D. upon completion of all predissertation requirements, including the prospectus and qualifying examination. Admission to candidacy must take place by the end of the third year.

The faculty considers teaching to be an important part of the professional preparation of graduate students. Students are required to complete four terms of teaching. This requirement is fulfilled in the second and third years. Students may also serve as a graduate research assistant at either the Yale University Art Gallery or the Yale Center for British Art. This can be accepted in lieu of one or two terms of teaching, but students may accept a graduate research assistant position at any time after the end of their first year. Application for these R.A. positions is competitive.

Combined Ph.D. Programs

History of art and african american studies.

The Department of the History of Art offers, in conjunction with the Department of African American Studies, a combined Ph.D. in History of Art and African American Studies. Students in the combined-degree program must take five courses in African American Studies as part of the required twelve courses and are subject to the language requirement for the Ph.D. in History of Art. The dissertation prospectus and the dissertation itself must be approved by both History of Art and African American Studies. For further details, see African American Studies .

History of Art and Early Modern Studies

The Department of the History of Art offers, in conjunction with the Early Modern Studies Program, a combined Ph.D. in the History of Art and Early Modern Studies. For further details, see Early Modern Studies .

History of Art and English

The Department of the History of Art also offers, in conjunction with the Department of English Language and Literature, a combined Ph.D. degree in History of Art and English Language and Literature. The requirements are designed to emphasize the interdisciplinarity of the combined degree program.

Course work In years one and two, a student in the combined program will complete sixteen courses: ten seminars in English, including The Teaching of English ( ENGL 990 ) and one course in each of four historical periods (Medieval, Renaissance, eighteenth–nineteenth century, twentieth–twenty-first century), and six in History of Art, including HSAR 500 and one course outside the student’s core area. Up to two cross-listed seminars may count toward the number in both units, reducing the total number of courses to fourteen.

Languages Two languages pertinent to the student’s field of study, to be determined and by agreement with the advisers and directors of graduate studies. Normally the language requirement will be satisfied by passing a translation exam administered by one of Yale’s language departments. One examination must be passed during the first year of study, the other by the end of the third year.

Qualifying paper History of Art requires a qualifying paper in the spring term of the second year. The paper must demonstrate original research, a logical conceptual structure, stylistic lucidity, and the ability to successfully complete a Ph.D. dissertation. The qualifying paper will be evaluated by two professors from History of Art and one professor from English.

Qualifying examination Written exam: addressing a question or questions having to do with a broad state-of-the-field or historiographic topic. Three hours, closed book, written by hand or on a non-networked computer. Oral exam: given one week after the written exam, covering six fields, including three in English (question periods of twenty minutes each, covering thirty texts each, representing three distinct fields of literary history) and three in History of Art (twenty-five minutes each, fields to be agreed on in advance with advisers and DGS). Exam lists will be developed by the student in consultation with faculty examiners.

Teaching Two years of teaching—one course per term in years three and four—are required: two in English (up to two sections per course) and two in History of Art.

Prospectus The dissertation prospectus must be approved by both English and History of Art. The colloquium will take place in the spring term of the third year of study. The committee will include at least one faculty member from each department. As is implied by its title, the colloquium is not an examination, but a meeting during which the student can present ideas to a faculty committee and receive advice from its members. The colloquium should be jointly chaired by the directors of graduate studies of both departments.

First chapter reading Students will participate in a first chapter reading (also known as a first chapter conference) normally within a year of advancing to candidacy (spring term of year four). The dissertation committee, including faculty members from both programs, will discuss the progress of the student’s work in a seminar-style format.

Dissertation defense The hour-long defense is a serious intellectual conversation between the student and the committee. Present at the defense will be the student’s advisers, committee, and the directors of graduate studies in both English and History of Art; others may be invited to comment after the committee’s questioning is completed.

History of Art and Film and Media Studies

The Department of the History of Art offers, in conjunction with the Film and Media Studies Program, a combined Ph.D. in the History of Art and Film and Media Studies. Students are required to meet all departmental requirements, but many courses may count toward completing both degrees at the discretion of the directors of graduate studies in History of Art and Film and Media Studies. For further details, see Film and Media Studies .

The Center for the Study of American Art and Material Culture

The Center for the Study of American Art and Material Culture provides a programmatic link among the Yale faculty, museum professionals, and graduate students who maintain a scholarly interest in the study, analysis, and interpretation of American art and material culture. It brings together colleagues from a variety of disciplines—from History of Art and American Studies to Anthropology, Archaeological Studies, and Earth and Planetary Sciences—and from some of Yale’s remarkable museum collections, from the Art Gallery and Peabody Museum to Beinecke Library. Center activities will focus upon one particular theme each year and will include hosting one or more visiting American Art and Material Culture Fellows to teach a course each term and interact with Yale colleagues; weekly lunch meetings in which a member makes a short presentation centered on an artifact or group of artifacts followed by lively discussion about methodology, interpretation, and context; and an annual three-day Yale-Smithsonian Seminar on Material Culture.

Master’s Degrees

M.Phil. See Degree Requirements under Policies and Regulations .

M.A. Students who withdraw from the Ph.D. program may be eligible to receive the M.A. degree if they have met the requirements and have not already received the M.Phil. degree. For the M.A., students must successfully complete eight term courses and have proficiency in one required foreign language. Candidates in combined programs will be awarded the M.A. only when the master’s degree requirements for both programs have been met.

Program materials are available online at http://arthistory.yale.edu .

HSAR 500a, First-Year Colloquium   Cecile Fromont

The focus of the first-year colloquium is to analyze and critique the history of art history and its methodology from a variety of disciplinary perspectives. The seminar discusses foundational texts as well as new methods relevant to the study of the history of art and architecture today, notably those concerned with issues of race, gender, and representation. It also engages with debates about museums and the ethics of collecting and display. The seminar is structured around selected readings and includes workshops with guest speakers. It also includes an option to conduct in-person research in the Yale University Art Gallery. M 1:30pm-3:20pm

HSAR 529a / AMST 630a / RLST 819a, Museums and Religion: the Politics of Preservation and Display   Sally Promey

This interdisciplinary seminar focuses on the tangled relations of religion and museums, historically and in the present. What does it mean to “exhibit religion” in the institutional context of the museum? What practices of display might one encounter for this subject? What kinds of museums most frequently invite religious display? How is religion suited (or not) for museum exhibition and museum education? Permission of the instructor required; qualified undergraduates are welcome.   W 1:30pm-3:20pm

HSAR 536a, Scale   Joanna Fiduccia

Art history has conventionally maintained a curious “scale blindness”—a cultivated insensibility to the influence of scale on the operations of perception and the work of interpretation. We are often similarly blind when it comes to scaling technologies woven into art history’s basic practices, from the slide lecture to the textbook’s reproductions. This course brings the subject into focus by examining theories of scale alongside recent art historical writing. We ask: Is an artwork’s relation to scale different from other objects’? How have technologies of scaling, from photography to GIS mapping, confronted the materiality of artworks? How have theories of scale in other disciplines informed our descriptions of the scale of artworks? And how does the attempt to conduct art history at a “global scale” expose the cultural and ideological specificity of scale? Th 1:30pm-3:20pm

HSAR 542b, Global Materiality of Color   Quincy Ngan

This seminar explores a global phenomenon wherein color makes meaning beyond sheer coloration and complements the function and meaning of artworks, inseparable from their conceptual properties. The seminar has two fundamentally different but reciprocal inquiries. The first is to study how pigments and dyes entangle with the wider world, reconstructing the history of their production and circulation along with the worldview of minerals and dyes in a given civilization. This inquiry leads to a better understanding of the history of trade, economy, science, medicine, chemistry, technology, and culture. The second inquiry, which fundamentally concerns art historians, studies how the production and circulation of pigments and dyes, as well as views on the material, permeate the conceptual property of artworks, such as paintings and murals, and colored objects, such as textiles and sculptures. Together, we explore the multivalent significance of colors—cochineal, indigo, Maya blue, malachite, azurite, lapis lazuli, and gold—across cultures. For the final paper, students write about the materiality of color in their own field. Major texts include Pigments and Power in the Andes (2011), Colors Between Two Worlds (2011), The Materiality of Color (2012), Colour, Art, and Empire (2013), A Red Like No Other (2015), Color in Ancient and Medieval East Asia (2015), Color in the Age of Impressionism (2017), and Colour and Light in Ancient and Medieval Art (2018). Th 1:30pm-3:20pm

HSAR 551b, Art. Race. Violence.   Cecile Fromont

This seminar investigates the many entanglements between art, race, and violence in the early modern Atlantic world and the long shadow these entanglements have cast on the contemporary era. Readings, class discussions, assignments, and invited speakers address topics such as racial construction in colonial Latin America; the visual culture of slavery; race and the advent of photography; the memorialization of slavery and colonialism; and race, piety, and aesthetics. M 9:25am-11:15am

HSAR 553a, Embodied Artisanal Knowledge   Edward Cooke

The development and transmission of knowledge during the early modern European world has lately been a dynamic subject of scholarly inquiry. Much of this work has focused upon the work of royal academies’ explorations of natural philosophy and the mechanical arts. This seminar seeks to move beyond that narrow geographic focus and descriptive taxonomies to consider embodied artisanal knowledge throughout the world in the period from 1500 to 1800. As Tim Ingold reminds us, embodied knowledge is a skilled, socially generated practice distinct from the innate talents of mechanical execution. It is a cognitive skill that prizes resourcefulness; efficiency of effort; and informed, intensive use of tools. This tacit knowledge, the intellect of the hand, is experienced and felt rather than written about and illustrated. Making things depends upon constant attention to the transmission of ideas from brain to hand and from tool to material, with feedback channeled back through the tool to the body and mind of the maker. This seminar  combines reading, object-driven inquiry, and hands-on exercises to explore the role of materials, techniques, and human agency in the making of objects. Students expand their own approaches to the study of artisans and objects from many periods and places. W 9:25am-11:15am

HSAR 565b, The Media of Architecture and the Architecture of Media   Craig Buckley

Architecture’s capacity to represent a world and to intervene in the world has historically depended on techniques of visualization. This seminar draws on a range of media theoretical approaches to examine the complex and historically layered repertoire of visual techniques within which architecture operates. We approach architecture not as an autonomous entity reproduced by media, but as a cultural practice advanced and debated through media and mediations of various kinds (visual, social, material, and financial). If questions of media have played a key role in architectural theory and history over the past three decades, recent scholarship in the field of media theory has insisted on the architectural, infrastructural, and environmental dimensions of media. The seminar is organized around nine operations whose technical and historical status will be examined through concrete examples. To do so, the seminar presents a range of differing approaches to media and reflects on their implications for architectural and spatial practices today. Key authors include Giuliana Bruno, Wendy Hui Kyong Chun, Beatriz Colomina, Robin Evans, Friedrich Kittler, Bruno Latour, Reinhold Martin, Shannon Mattern, Marshall McLuhan, Felicity Scott, and Bernhard Siegert, among others. T 1:30pm-3:20pm

HSAR 584a / MDVL 955a, The Cult of Saints in Early Christianity and the Middle Ages   Vasileios Marinis and Felicity Harley

For all its reputed (and professed) disdain of the corporeal and earthly, Christianity lavished considerable attention and wealth on the material dimension of sainthood and the “holy” during its formative periods in late antiquity and the Middle Ages. Already in the second century Christian communities accorded special status to a select few “friends of God,” primarily martyrs put to death during Roman persecutions. Subsequently the public and private veneration of saints and their earthly remains proliferated, intensified, and became an intrinsic aspect of Christian spirituality and life in both East and West until the Reformation. To do so, it had to gradually develop a theology to accommodate everything from fingers of saints to controversial and miracle-working images. This course investigates the theology, origins, and development of the cult of saints in early Christianity and the Middle Ages with special attention to its material manifestations. The class combines the examination of thematic issues, such as pilgrimage and the use and function of reliquaries (both portable and architectural), with a focus on such specific cases as the evolution of the cult of the Virgin Mary. T 1:30pm-3:20pm

HSAR 646a, Readings in Art and Empire   Tim Barringer

This course encourages students to engage with recent thinking on questions of art and empire and to mobilize decolonial methodologies in a research project relating to a specific object in Yale’s collections. The first half of the term is spent discussing key texts, beginning with Ariella Aïsha Azoulay’s Potential History (2019), John Giblin et al “Dismantling the Master’s House” (2019), and “Decolonizing Art and Empire” by Charlene Villaseñor Black and Tim Barringer (2022). It looks at the possibilities for new studies of art and empire that undermine, rather than replicating imperial structures of power and knowledge. Issues under discussion include slavery and representation, indigeneity and art history, orientalism, theories of hybridity, the colonial uncanny, the representation of landscape and the body in the colony, and science and visual representation. Particular attention is paid to recent work on the British Empire as manifest in the collection of the Yale Center for British Art. The curriculum is shaped to accommodate the research interests of the seminar’s members (to include any and all empires across space and time); in the second half of the term students develop a research paper, generating a methodological approach for the analysis of a single object in Yale’s collections. W 1:30pm-3:20pm

HSAR 678b / ENGL 830b, Portraiture and Character from Hogarth to Woolf   Ruth Yeazell

Case studies in the visual and verbal representation of persons in Anglo-American painting and fiction, with particular attention to novels that themselves include portraits or address relations between the two media. Novelists tentatively include Henry Fielding, Jane Austen, Henry James, Edith Wharton, Oscar Wilde, and Virginia Woolf. Painters include William Hogarth, Joshua Reynolds, Thomas Lawrence, James McNeill Whistler, John Singer Sargent, and Vanessa Bell. Selected readings in recent theories of fictional character and in the history and theory of portraiture. Whenever possible, we draw on paintings in Yale’s collections. T 1:30pm-3:20pm

HSAR 716b / AMST 716b / ANTH 769b / ARCG 769b, Landscapes of Meaning: Museums and Their Objects   Anne Underhill

This seminar explores how museums convey various meanings about ethnographic, art, and archaeological objects through the processes of collecting, preparing exhibitions, and conducting research. Participants also discuss broader theoretical and methodological issues such as the roles of museums in society, relationships with source communities, management of cultural heritage, and various specializations valuable for careers in art, natural history, anthropology, history, and other museums. W 1:30pm-3:20pm

HSAR 746a, Research Seminar in the Art of the Americas   Allison Caplan

This graduate seminar provides a forum for participants to workshop issues surrounding research and publishing, particularly as they relate to art historical research on the Americas. Topics covered are shaped by participants’ specific interests but may include archival and museum-based research, early modern paleography, and approaches to publishing scholarly articles and books. T 9:25am-11:15am

HSAR 783a / EMST 748a, Circa 1600   Kishwar Rizvi

This seminar focuses on the art , architecture, and urbanism of early modern empires across West, Central and South Asia, namely, the Ottoman, Safavid, Mughal, and Shibanid, and their political and economic ties across the world. The year 1600 is an important temporal hinge, at the height of socio-political migrations and before the realization of full-scale European colonial ambitions. It is also the period of absolutism and millenarian activity, of slavery and the novel, and the institution of new religious and ethnic allegiances. In this manner art and architectural history served at the nexus of commensurability and competition, where artists, merchants, and missionaries crossed geographic and disciplinary borders in order to imagine a new world and their place within it. T 1:30pm-3:20pm

HSAR 841a and HSAR 842b / ANTH 963a and ANTH 964b / HIST 963a and HIST 964b / HSHM 691a and HSHM 692b, Topics in the Environmental Humanities   Paul Sabin and Sunil Amrith

This is the required workshop for the Graduate Certificate in Environmental Humanities. The workshop meets six times per term to explore concepts, methods, and pedagogy in the environmental humanities, and to share student and faculty research. Each student pursuing the Graduate Certificate in Environmental Humanities must complete both a fall term and a spring term of the workshop, but the two terms of student participation need not be consecutive. The fall term each year emphasizes key concepts and major intellectual currents. The spring term each year emphasizes pedagogy, methods, and public practice. Specific topics vary each year. Students who have previously enrolled in the course may audit the course in a subsequent year. This course does not count toward the coursework requirement in history. Open only to students pursuing the Graduate Certificate in Environmental Humanities.   ½ Course cr per term T 5:30pm-7:20pm

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Department of the History of Art

You are here, welcome to history of art.

Here you will find information about the people who comprise the Department – faculty and graduate students – with descriptions of our fields of research. Also featured are listings of many student- and faculty-organized events. We are an intellectual community committed to studying art made by all people in many media everywhere at all times. Central to all we do is a commitment to Diversity of people, ideas, and works of art. In April 2021, the Department’s faculty and graduate students voted to adopt a  Diversity Statement  that was jointly authored through a process of open collaboration between all members of the community. This dynamic statement reflects current thinking and initiatives and is revised and updated annually.

The Department has played a significant role in establishing art history as a discipline that explores all forms of art, inclluding visual and material culture, across the globe. Yale’s faculty members over decades have made field-changing contributions to the study the arts of the Americas (notably Pre-Columbian art and the full range of North American art and architecture from colonial to contemporary), African art and arts of the African Diaspora, Asian and Islamic Arts, and European art from ancient times to today. These fields, and more, are central to our current research and teaching.  We are particularly thrilled to welcome Nana Adusei-Poku and Allison Caplan, who joined our faculty in July 2023.

Among the greatest privileges of studying History of Art at Yale is the presence of some of the world’s greatest museum and library collections. The  Yale University Art Gallery , the oldest university art museum on this continent, is notable for collections in African, American, Asian and European arts from prehistoric to contemporary. The  Yale Center for British Art  is the most important collection of paintings, prints and drawings, and rare books relating to the art of Britain and the former British Empire outside of Britain. Much of the Department’s teaching is done in the galleries and in the  West Campus Collection  Studies Center, which houses off-site museum collections and the  Institute for the Preservation of Cultural Heritage . Students and faculty frequently collaborate with curators on exhibitions, programs and collection-based research. Details of the Graduate Student Assistant program, an important feature of the History of Art PhD, can be found on the  Graduate Study   page.

Milette Gaifman

Early Modern Studies

You are here, history of art.

Coursework: History of Art students in the combined program take the same number of courses as those on the regular History of Art track.  In years one and two, a student in the combined program will complete ten seminars in the History of Art, including the First Year Seminar (HSAR 500) and three seminars on early modern topics, as well as the Workshop in Early Modern Studies (EMST 700). Students will also participate in the Early Modern Studies Colloquium (EMST 800).       

Second Year Paper Requirement:   The Qualifying Paper is to be submitted for consideration according to the policies of the Department of the History of Art, typically in the second semester of  the second year.

Qualifying examination: Students will follow the usual procedures for oral qualifying exams in History of Art, with the additional requirement that three of their four lists must concentrate on early modern texts and topics (between 1350 and 1800). 

Prospectus:  Third-year students in the combined program will enroll in the year-long Early Modern Studies Prospectus Workshop (EMST 900).

Dissertation Committee:  At least one faculty member affiliated with the Program in Early Modern Studies must be on the committee. The chair of the committee will be in the History of Art, but students in the combined program are encouraged to include at least one faculty member from outside of History of Art on their committees. 

................................vol. 002, fall 2020

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Robert Pranzatelli Adapted from  A World of Letters  by Nicholas A. Basbanes

I. THE FIRST HALF-CENTURY 

From its founding in 1908 by George Parmly Day, Yale University Press sought to acquire and publish important works of scholarship, issuing its first book— The Beginnings of Gospel Story , by Benjamin W. Bacon—in 1909. Originally based out of a cubbyhole-size office in Manhattan, the Press moved to an office in New Haven in 1910, where it could develop alongside the University. From the start, the Press set a high standard not only for its acquisitions but also for its vision of the book as object. From 1918 to 1948, all of its books were designed under the guidance of Carl Purington Rollins, later celebrated as a highly influential craftsman of the art of the book.

Perhaps the idealism behind YUP’s founding was most memorably expressed in 1920, when Clarence Day—George Parmly Day’s brother, and a partner in the establishment of the Press—issued this declaration: “The world of books is the most remarkable creation of man. Nothing else that he builds ever lasts. Monuments fall, nations perish, civilizations grow old and die out; and, after an era of darkness, new races build others. But in the world of books are volumes that have seen this happen again and again, and yet live on, still young, still as fresh as the day they were written, still telling men’s hearts of the hearts of men centuries dead.”

During its first half-century—known as the George Parmly Day era, for it was Day who presided over the Press throughout those decades—the Press augmented its list of individual titles with several notable series, including popular compact illustrated histories known as The Chronicles of America, as well as the single most popular and well-known series of the era, The Yale Shakespeare, which, from 1918 to 1929, presented all of Shakespeare’s plays in small, low-priced hardcover editions. (Revised editions appeared in the 1940s and 1950s, and a new series, The Annotated Shakespeare, began in 2003.)

In 1919, the Press launched the Yale Series of Younger Poets, which has continued without interruption ever since. This celebrated series—an annual contest, award, and publication of a first book of poetry by a poet under forty—is regarded as the most important poetry award in America and has introduced such distinguished poets as James Agee, John Ashbery, Carolyn Forché, Robert Haas, John Hollander, M. S. Merwin, Ted Olson, Muriel Rukeyser, Adrienne Cecile Rich, James Tate, and Margaret Walker, to name only a few of the many who have gone on to extraordinary careers. After the 1961 Younger Poet, Alan Dugan, saw his winning volume, Poems, published in the series, that book went on to win both the Pulitzer Prize and a National Book Award. The acuity of the selections made for the series is not accidental: through the years, the Press has recruited major poets to serve as judges, an honor roll that includes William Alexander Percy, Stephen Vincent Benét, Archibald MacLeish, W. H. Auden, Stanley Kunitz, James Merrill, James Dickey, and Louise Glück.

The ambitious nature of the Press’s mission also manifested in its willingness to take on decades-long multivolume projects based on enormous scholarly efforts, such as the forty-eight volume Yale Edition of Horace Walpole’s Letters, produced between 1924 and 1982; the nine-volume Bibliography of American Literature, published for the Bibliographical Society of America, produced between 1955 and 1991; and the fifteen-volume Yale Edition of the Complete Works of St. Thomas More, produced from 1963 to 1997. Others are still ongoing: there have been eighteen volumes in the Yale Edition of the Works of Samuel Johnson, begun in 1955; twenty-five volumes of The Works of Jonathan Edwards, since 1957; and thirty-seven volumes in the magisterial The Papers of Benjamin Franklin series, in partnership with the American Philosophical Society, since 1954. Other long-running series that continue more than a half-century after their inception include the Yale Judaica Series and the annual Psychoanalytic Study of the Child.

From early on, several of Yale University’s endowed lecture series, including the Terry Lectures, Silliman Memorial Lectures, and the Storrs Lectures, yielded important and enduring books, among them The Heavenly City of the Eighteenth-Century Philosophers (1932), by Carl Becker; A Common Faith (1934), by John Dewey; The Realm of the Nebulae (1936), by Edwin Hubble; Psychology and Religion (1938), by Carl Gustav Jung (named a Book of the Century by the New York Public Library); T he Nature of the Judicial Process (1949), by Benjamin N. Cardozo; The Meaning of Evolution (1949), by G. G. Simpson; The American Mind (1950), by Henry Steele Commager; and Psychoanalysis and Religion (1950), by Erich Fromm. The diversity of the subject matter in even this extremely short sampling of titles not only reflects the intellectual excitement of Yale University’s lecture series, which continue today to generate important books for the Press, but also suggests the broad array of subject areas embraced by YUP even in its early years.

Among the most remarkable publishing successes of the Press’s first half-century is The Lonely Crowd (1950), by David Riesman with Nathan Glazer and Reuel Denney, a book that reached a vastly wider audience than anticipated, introduced the terms “inner directed” and “other directed” to the general public, and became by some counts the best-selling book in the history of American sociology. An even larger success occurred a few years later, in 1956, when Yale published, posthumously, Eugene O’Neill’s Long Day’s Journey into Night . With a standing-room-only opening on Broadway, three Tony awards for 1957 (including best play, best playwright, and best actor), and an unprecedented fourth Pulitzer Prize for O’Neill, Long Day’s Journey into Night became the fastest-selling title in YUP’s history, and its continuing status as a classic has kept it among the Press’s most perennially successful books. 

II. GROWTH AND DIVERSIFICATION (MID- TO LATE 20th CENTURY) 

The leadership of the Press underwent a slow transition at midcentury, a process that began in the mid-1940s, when George Parmly Day stepped down as director to become chairman of the board. The next decade and a half saw a succession of directors that included Edgar Furniss, Norman Donaldson, and, in 1959, Chester Kerr, who oversaw the Press for the next twenty years. Also in 1959, the Press moved its headquarters from 143 Elm Street to 149 York Street.

The year 1961 brought two major changes. The Press formally became a department of Yale, further enhancing its ties to the University (though it remained, and still remains, financially and operationally autonomous), and in the same year it established a London branch—then called Yale University Press, Limited—to sell books abroad. Nearly a decade later the role of the London branch began to expand, in part due to Yale University’s commitment to assist in the publishing efforts of the Mellon Centre for Studies in British Art, established in London in 1970. In 1973, John Nicoll was hired to oversee the Press’s London office, which he did for the next thirty years, developing it into a full-fledged editorial division with its own acquisitions strategy and identity, its own reputation for excellence, and its own specialties—not least among them the publishing of extremely high quality, critically acclaimed art books and distinguished works of social history. The name of the division was changed to Yale University Press, London, in 1984, and today the London office, overseen by its present director, Heather McCallum, is responsible for nearly one third of Yale University Press’s titles.

In 1973, the New Haven office of the Press took up residence at 302 Temple Street, in a building designed in 1840 by the architect Ithiel Town and acquired in 1890 by the United Church on the Green, which added to the back of the building a large chapel with a cathedral ceiling. When the Press moved in, the chapel was transformed into “the library”—unanimously regarded as the most charming part of the Press’s physical space, with its two tiers of open offices for manuscript editors installed along the two-story walls (on the ground level and on the balcony), a large central meeting space, and wooden bookcases to shelve one copy each of the thousands of books the Press has published in its history. (By the early 1990s, the ever-growing Press would again desperately require more space, and in 1992 added the Evans Wing, named for Edward M. Evans, Class of 1964, and designed by architect Cesar Pelli.)

During the 1960s and 1970s the number of titles published annually by the Press tripled, from thirty to ninety—a number that was thought large at the time, but would grow much larger.

At the beginning of the 1980s, John G. Ryden succeeded Kerr as director and presided over the Press for the next twenty-three years, from 1981 through 2002. At a time when many university presses were in crisis and unable to find a way to continue operating, the Press pursued a strategy of diversification to include in its list books that, while appropriate to its mission as a university press, had a broader appeal: important books that were also commercially viable and could, through their success, help subsidize the more highly specialized monographs. Often the same authors who wrote scholarly monographs would be encouraged to amplify their message for a wider audience. Among the scholars who succeeded brilliantly in this endeavor was Yale historian of religion Jaroslav Pelikan, who based his critically acclaimed book Jesus Through the Centuries: His Place in the History of Culture (1985) on a series of lectures he had given in New Haven at Ryden’s suggestion. The book was a success on all levels, and the Press later published both an illustrated edition and a companion volume. To create even greater diversity in its already varied list, the Press branched out into publishing textbooks and further developed its strength in art history, an area that eventually became one of its hallmarks. (In addition to the growing art list from the London office, there had been earlier precedents in New Haven: in the mid-1960s, Josef Albers’ Interaction of Color had been recognized as a milestone in art book publishing almost from the moment the Press released it, in a hardcover limited edition of two hundred copies, each weighing in at twenty-two pounds and featuring 150 silkscreen color plates.) During this era, YUP’s list also began to reflect both the increasing accomplishments of women scholars and the growing field of woman’s studies, with such widely influential and much-discussed works as The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination , (1979), by Sandra M. Gilbert and Susan Gubar; Hannah Arendt: For Love of the World , (1982), by Elizabeth Young-Breuhl; and Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson , (1990), by Camille Paglia. In the same years, i (1981), a nineteenth-century journal edited by Yale historian C. Vann Woodward, became a bestseller, received lavish critical acclaim, and went on to win a Pulitzer Prize.

In the eighties and nineties, the Press continued its tradition of ambitious, long-term efforts with high ideals. Major projects included a lavish Culture & Civilization of China series based on an innovative international cross-cultural partnership; the pioneering Encyclopedia of New York City, for which historian Kenneth T. Jackson enlisted 680 experts to write 4,288 entries (a great success, it paved the way for other one-volume encyclopedias on such varied topics as the American West, the Holocaust, underwater and maritime archaeology, Ireland, and New England); and an unprecedented series based on documents from Soviet archives. This latter undertaking was recognized, from the first volume (The Secret History of American Communism, 1995), as a revelatory scholarly enterprise of major proportions; under the series title The Annals of Communism, it grew to embrace twenty titles in its first fourteen years and was hailed as “one of the most important publishing projects in the world” (National Review). 

III. A TWENTY-FIRST CENTURY PRESS

In 2001 Yale partnered with Harvard University Press and MIT Press to create TriLiteral LLC, a limited liability partnership to manage distribution of all three presses’ publications, and together built a 155,000-square-foot warehouse and distribution center in Rhode Island.

That same year, YUP entered the twenty-first century with an extraordinary, unexpected success, albeit one with a grim catalyst: the terrorist attacks of September 11, 2001, prompted an immediate demand for what was, at the time, the only available primer on who and what the Taliban were. Taliban: Militant Islam, Oil, and Fundamentalism in Central Asia , by Pakistani journalist Ahmed Rashid, had recently been brought out in paperback by YUP, which had bought the U.S. rights in 1998 and published the book in hardcover in 2000. Expectations for sales had been modest, but in the wake of the attacks, the book sold hundreds of thousands of copies and quickly reached the top of the New York Times paperback bestseller list. It remained on that list for months, and its author made the rounds of national television interviews.

Also receiving a surprise burst of attention immediately post-9/11 was the backlist title Five Days in London, May 1940 , by John Lukacs, which New York Mayor Rudy Giuliani cited as an “inspiration” in a number of national interviews. YUP’s longstanding strength in the History category was soon bolstered again, most happily, with the 2002 publication of Edmund S. Morgan’s Benjamin Franklin , a New York Times bestseller that allowed the eminent historian and Yale professor emeritus to epitomize, as effectively as any author ever has, what the phrase “scholarly but accessible” means to Yale University Press. The following year, another YUP bestseller, Gore Vidal’s Inventing a Nation: Washington, Adams, Jefferson (2003), launched the Icons of America series and treated readers to its author’s characteristically incisive take on American history.

After twenty-three years (and more than 4,000 books), John Ryden retired as director of the Press, to be succeeded by John Donatich, who arrived in January 2003 to take even further the Press’s growth, expansion, and diversification, while guiding it into an era of new technological possibilities.

The vitality and variety of the YUP list in the 2000s can be seen in the success of such titles as E. H. Gombrich’s A Little History of the World (2005), a remarkable classic that parents can share with their children, which has gone on to sell nearly one million copies in multiple editions and formats, and inspire an entire series of “Little Histories”; critically acclaimed and award-winning volumes that included Jonathan Edwards: A Life (2003), by George M. Marsden, and Dwelling Place: A Plantation Epic (2005), by Erskine Clarke; and current events books that made headlines and played a significant role in the public dialogue, such as Francis Fukuyama’s America at the Crossroads (2006) and Ali A. Allawi’s The Occupation of Iraq: Winning the War, Losing the Peace (2007), each of which became part of the ongoing debate over American foreign policy. In another important area of influence, the Press’s leading-edge books on climate change, such as Gus Speth’s Red Sky at Morning (2004), made major contributions to the global conversation on a vital issue. Richard H. Thaler and Cass R. Sunstein’s Nudge: Improving Decisions About Health, Wealth, and Happiness (2008) had a public policy impact on a broad array of issues; that book went on to become a bestseller and its authors went on to related notoriety, Richard Thaler winning a Nobel Prize in Economics and Cass Sunstein serving in President Obama’s administration where he set about applying the book’s principles for the greater public good.

These years also saw beautiful editions on Yale’s outstanding natural sciences list, such as In the Company of Crows and Ravens (2005), by John M. Marzluff and Tony Angell; a bestselling and critically acclaimed foray into the growing study of graphic novels and cartoon art as literature with A n Anthology of Graphic Fiction, Cartoons, and True Stories (2006), edited by Ivan Brunetti; and important books on law, business, architecture, Jewish studies, psychology, every aspect of the arts and humanities—in short, a large, vibrant picture of publishing at its best.

Benjamin Schwarz, writing in the Atlantic Monthly, called Yale University Press “the most important and exciting university-press publisher of humanities titles today.” Felipe Fernandez-Armesto, in the Literary Review, stated, “Publication by Yale University Press has become a guarantee of literary merit as well as scholarly excellence.” And Robert Leiter of the Jewish Exponent declared: “I think Yale has consistently had the finest line-up of books—season after season—during the last two decades or more.”

Over the years, the Press had established an extraordinary array of partnerships with leading museums—including the Metropolitan Museum of New York, the National Gallery of Art, the Art Institute of Chicago, the Philadelphia Museum of Art, and the National Gallery in London, among many others—to publish and distribute major exhibition catalogues and other works. As a result it became—and has remained—the widely recognized leader in the field, its seasonal catalogue divided into two parts, one devoted exclusively to art and architecture books, the other to the rest of the list (general interest and scholarly titles in all other categories).

By the second decade of the new century, Yale University Press had become the largest books-only, U.S.-based university press. Having already published more than eight thousand books, it continued to publish upwards of 300 new books per year and broaden its offerings. Its major digital initiatives included a logical outgrowth of the earlier Annals of Communism series, the Stalin Digital Archive which provides unprecedented access to historically significant content—primary source materials from Stalin’s personal papers and insightful monographs on communism—with robust online capabilities that allow scholars and students to interact with the content and collaborate in new ways. Another innovative digital initiative, the A&A ePortal, provides a digital environment in which to discover and interact with important art and architectural history scholarship. With deep tagging on images and text, a robust image search that directs users toward relevant publications, and an interactive online reader tailored for highly illustrated works, the A&A ePortal is a powerful research tool.

In another groundbreaking digital initiative, Yale University Press introduced an award-winning and critically acclaimed mobile app for iPad, based on one of its most lastingly influential books, The Interaction of Color by Josef Albers. Built on Albers’s methodologies and packed with interactive features, it offers users a fresh, dynamic way to introduce themselves to Albers’s challenging and enlightening principles, experiments, and ideas. At the same time, the Press’s commitment to, and success with, lavish print catalogues continued to prove the appeal of the art book as irresistible object, nowhere more evident than in the phenomenal ongoing sales and visual impact of the Metropolitan Museum of Art’s Alexander McQueen: Savage Beauty (2011), a volume that has proven itself a landmark art monograph for the 21st century.

Other innovations in its publishing program have also continued to energize the Press. The Cecile and Theodore Margellos World Republic of Letters series, championing the translation and publication of important literary works from around the world, has come to include Nobel Prize, Best Translated Book Award, PEN Translation, and Saif Ghobash Banipal prize- winners, among other internationally recognized awards. Its roster of extraordinary authors includes Patrick Modiano, Can Xue, Claudio Magris, Adonis, Hoda Barakat, and Cees Nooteboom, among many others. Jewish Lives, a prizewinning series in partnership with the Leon D. Black Foundation, offers contemporary biographies that pair notable authors with notable subjects ranging from Ben-Gurion, Louis D. Brandeis, and Sarah Bernhardt to Einstein, Freud, Mark Rothko, and Barbra Streisand. The Yale Drama Series, funded by the David Charles Horn Foundation, celebrates new works by previously unheralded playwrights, through both publication and a staged reading. (The drama series was launched in 2007 with eloquent remarks by the three-time Pulitzer Prize-winning playwright Edward Albee, the competition’s inaugural judge.)

As these and other ambitious initiatives grew stronger, Yale University Press continued to publish important books that expanded and clarified the historical record, such as Pekka Hämäläinen’s critically acclaimed volumes The Comanche Empire (2008) and Lakota America (2019), Andrew Lipman’s The Saltwater Frontier: Indians and the Contest for the American Coast (2015), Lisa Brooks’ Our Beloved Kin: A New History of King Philip’s War (2018), and Stephanie E. Jones-Rogers’ T hey Were Her Property: White Women as Slave Owners in the American South (2019). Significant cultural criticism such as Melissa Harris-Perry’s Sister Citizen: Shame, Stereotypes, and Black Women in America (2011) and madison moore’s Fabulous: The Rise of the Beautiful Eccentric (2018) also played a substantial role on the Yale list.

In 2019, the Press celebrated the centenary of its best-known series—and the oldest annual literary award in the United States—with the publication of the anthology Firsts: 100 Years of Yale Younger Poets , edited by Carl Phillips. In 2020, it launched Yale Press Audio, its own audiobook program, to further expand the number of its books that are available in audio format.

One of the most vivid examples of Yale University Press bringing essential knowledge to the wider world can be seen in the evolution—from an online Yale course, to a book, to a global resource—of Frank Snowden’s Epidemics and Society: From the Black Death to the Present (2019), a book that in the face of the COVID-19 pandemic has provided desperately needed context for policymakers, journalists, and citizens everywhere. In 2020 and beyond, Yale University Press continues to strive to exemplify publishing at its best and most meaningful.

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Fields include ancient, medieval, early modern, and modern Europe (including Britain, Russia, and Eastern Europe), United States, Latin America, East Asia, Southeast Asia, Middle East, Africa, Jewish history; and diplomatic, environmental, ethnic, intellectual, labor, military, political, religious, social, and women’s history, as well as the history of science and medicine (see also the program page for History of Science and Medicine).

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Art & Art History News - April 9, 2024

Upcoming events.

King Awards Ceremony & Exhibition

Awards Ceremony & Reception: THIS FRIDAY!! April 12, 2024, 4:00-6:00PM Exhibition in the Visual Arts Complex: Wednesday, April 10 - April 19, 2024 

Undergraduate Finalists: Lisa An, Annabelle Farris, Sarah Mak, Alice Neild, Brooke Schuh

Graduate Finalists: Dati Alsaedi, Ana González Barragán, Cody Norton, Silvia Alejandra Saldivar Romero, Natalie Thedford

View online exhibition

Image: Lisa An,  Untitled, October 2023, photographic print on matte paper, 20in x 30in with borders

Setsuko and Hiroki Morinoue: Visiting Artist Lecture

Monday, April 22 at 4:00 PM Visual Arts Complex, Auditorium 1B20

Born in 1947, in Holualoa on the Island of Hawaii, Hiroki Morinoue received his BFA degree from the California College of Arts and Crafts (now CCA) in 1973. For Hiroki the landscape of Hawaii, its light, rocks, skies, and water has deeply influenced his work alongside the aesthetic of Japanese arts, crafts and landscaped gardens, which is prevalent in his work. In all of Morinoue's work there is a compelling sense of place, curiosity and dialogue between the art and its viewer. He transcends these observations in various mediums, including watercolor, oil, acrylic and mixed media paintings, monotypes, sculptures, photography, ceramics and Mokuhanga (Japanese woodblock prints). He has completed several major public art commissions, including projects at the Honolulu Public Library, and for the Hawaii Convention Center. Hiroki's work is represented in art collections around the world.

Born in Kanagawa, Japan, Setsuko began her interest in art through photography in high school. Later it transformed into the love for fiber art in Kusaki and Roketsu-zome, a Japanese natural dye with wax resist. She began her journey with clay at the Kona Arts Center in Holualoa. Setsuko is mainly self-taught by exploring and experimenting while taking many workshops throughout her career by well-established artists. She has participated in numerous group shows in Japan, Hawaii, and the US Mainland. Her works are in numerous private, public and corporate collections.

Hiroki and Setsuko Morinoue established Studio 7 Fine Arts Gallery in November 1979, as the first and now longest-standing contemporary art gallery in Hawaii. A humble space in a small village with a charmed history, the gallery holds an open-ended mission: to create and promote Contemporary Art.

Master of Fine Arts Thesis Exhibitions

Currently on View at CU Art Museum [Round 1] April 6–18, 2024 Artists featured: Brianna Autin, Erin Hyunhee Kang, Dani Wasserman, Elisa Wolcott

Next exhibition: April 27–May 11 [Round 2]  Opening reception: Fri. April 26 from 4–6 PM Artists featured: Natalie Thedford, Noa Fodrie, Aunna Moriarty, Cody Norton 

Spring 2024 Art History Graduate Student Symposium

Visual Arts Complex, Rm 303 Tuesday, April 16, 2024, 9:00-10:45 AM

9:00 AM — Welcome, introductions, Albert Alhadeff, Director of Graduate Studies, Art History 9:15-9:30 — Brittany Ashley, Collections as Medium 9:30-9:45 — Kat Bertram, Manga Introduction to Nichiren: Unveiling Nichiren Buddhism through Manga Study Aids 9:45-10:00 — Natalie Ginez, Hybridity and Indigeneity in Colonial Ecuador BREAK 10:15-10:30 — Sam Hensley, Gathering for Tea: Modernity, Material Culture, and Tea Ceremony in Japan and Abroad 10:30-10:45 — Taite Shomo, Theatre of the Horrible: Self-Immolation, Violence, and Representation 10:45-11:00 — Bella Malherbe, Bhekisisa, Sakouli Beach, Mayotte: The Black Queer Figure as an Apoptotic Agent of the Anthropocene

The 2024 Art History Showcase

Join us on  Tuesday, April 16, 3:30 - 4:30pm in the 3rd floor lobby  of the Visual Arts Complex for a reception celebrating the  Art History Showcase . This exhibition highlights Art History students’ research and coursework, raises the visibility of their scholarship, and honors their accomplishments. Refreshments will be served. The exhibition will be on view April 15-19, 2024.

Participants include  M.A. candidate Kat Bertram  ( Manga Introduction to Nichiren: Unveiling Nichiren Buddhism through Manga Study Aids ) and  B.A. with Honors candidate Bella Malherbe  ( Bhekisisa, Sakouli Beach, Mayotte: The Black Queer Figure as an Apoptotic Agent of the Anthropocene ), as well as students in Professor Brianne Cohen's capstone seminar: Photo and Political Violence, who have collaborated to create the "Waging Peace Through AI" exhibition.

Waging Peace Through AI This exhibition investigates the potential of generating AI-based images to advocate for peace. Each artwork has been created using AI-generating software, and students have conceived the artworks in the context of an undergraduate course, Photography and Political Violence. In the seminar, we have examined photographic histories of more visible violence from centuries of wars and genocide (e.g. WWII and the Holocaust, the Vietnam War) as well as more invisible, structural violence (e.g. racism in the U.S. prison system, the AIDS epidemic). The title of the exhibition is an homage to another contemporary, widely circulating exhibition, “Waging Peace in Vietnam,” about the efforts of U.S. soldiers and veterans who opposed the war.

Image caption: Audrey Lebsack,  The Vietnam American War

Department Announcements

Art & Environments Field School

Registration is now open!

Art & Environments Field School Summer 2024 — June 10-28 ARTS 4444 6 Credits, 3 weeks in the field & 3 weeks asynchronous online

Field Instructor: Aaron Treher Artist and Exhibitions Developer, CU Museum of Natural History Visiting Artist: Nina Elder, Interdisciplinary Artist and Researcher Field Technician: Delaney Gardner-Sweeney, Installation Artist and Researcher Program Director I Online: Richard Saxton,  lnterdiscipinary Artist and Researcher 

Please email [email protected] or [email protected]

Marina Kassianidou, Assistant Professor, Painting & Drawing

A Partial History Solo exhibition by Marina Kassianidou

NARS Foundation Brooklyn, NY

Opening: April 12, 6:00 - 8:00 pm Duration: April 12 – May 15, 2024 https://www.narsfoundation.org/2024-exhibitions/marina-kassianidou-a-partial-history

A Partial History  unfolds histories/stories of touch, movement, language, and translation. The artist recreates books from her late grandmother’s library, focusing on marks of use and time on the books’ pages. She then makes drawings that magnify and superimpose the marks from the books, compressing time while potentially expanding space. The recreated books and drawings become alternative history books and maps, recording shared histories and spaces of handling and holding.

Megan O'Grady, Assistant Professor, Critical and Curatorial Studies

O'Grady's book review of  CHASING BEAUTY: The Life of Isabella Stewart Gardner,  by Natalie Dykstra was recently published in the New York Times

An Exquisite Biography of a Gilded Age Legend Link to read the full review

Art & Art History Department Commencement

Friday, May 10 at 10:00am to 12:00pm ​Visual Arts Complex, Plaza — in front of the building 1085 18th Street, Boulder, CO 80309

Join us from 10 AM-12 Noon for the Art & Art History graduation on the Visual Arts Complex plaza. The ceremony is from 10-11 AM followed by morning refreshments served from 11AM-12PM.

Seating is limited! Please consider 2-4 guests per student.

IMPORTANT: Students should check in with their advisors about all graduation details!!! Are you registered to graduate?  CLICK HERE  to register. CLICK HERE  to order regalia If you are graduating this Summer or Fall and want to participate in the Spring 2024 Art & Art History graduation ceremony you will need to contact  [email protected]  in advance to be included in the event.