New Book | The Story of Follies

Posted in books by Editor on February 28, 2023

Distributed by The University of Chicago Press:

Celia Fisher, The Story of Follies: Architectures of Eccentricity (London: Reaktion Books, 2023), 398 pages, ISBN: 978-1789146356, $50.

Book coverAre they frivolous or practical? Follies are buildings constructed primarily for decoration, but they suggest another purpose through their appearance. In this visually stunning book, Celia Fisher describes follies in their historical and architectural context, looks at their social and political significance, and highlights their relevance today. She explores follies built in protest, follies in Oriental and Gothic styles, animal-related follies, waterside follies and grottoes, and, finally, follies in glass and steel. Featuring many fine illustrations, from historical paintings to contemporary photographs and prints, and taking in follies from Great Britain to Ireland, throughout Europe, and beyond, The Story of Follies is an amusing and informative guide to fanciful, charming buildings.

Celia Fisher has lectured and written widely on the history of plants and gardens in art. Her books include Flower: Paintings by Forty Great Artists and Tulip, the latter also published by Reaktion Books.



Introduction: A Taste of Follies
1  Seeking out the Origins
2  Some Names to Conjure with
3  Telling a Story
4  Concepts of Freedom and Victory
5  Hunting and Husbandry
6  Waterside Follies and Grottos
7  The Lure of the East
8  From Ruins to Gothic and Picturesque
9  Hermitages and Tree Hoses
10  Into the Future

Further Reading
Photo Acknowledgments


New Book | The Bridges of Robert Adam

Posted in books by Editor on February 28, 2023

From Triglyph Books:

Benjamin Riley, The Bridges of Robert Adam: A Fanciful and Picturesque Tour (London: Triglyph Books, 2023), 156 pages, ISBN: ‎ 978-1916355477, £45 / $60.

The bridge has always stood as a transitional structure—not purely a work of engineering, nor simply a work of architecture. Its functional requirements are more stringent than those of the average building; it not only must stand up; it must stand up, support those who cross it, and effectively span the space over which it stands. As Samuel Johnson said, “the first excellence of a bridge is strength … for a bridge that cannot stand, however beautiful, will boast its beauty but a little while.” The Scottish architect Robert Adam (1728–1792) understood these precepts well, continually building bridges that were not just structurally sound, but also aesthetically pleasing. Unlike his contemporaries, Adam did not view bridges as mere skeletons upon which to apply ornament. Rather, he sought to achieve architectural totality, incorporating his bridge designs into greater architectural programs, thereby producing aesthetically pleasing and contextually specific designs. From the Pulteney Bridge in Bath to the ruined arch and viaduct at Culzean Castle in Ayrshire, The Bridges of Robert Adam: A Fanciful and Picturesque Tour will take the reader across Britain, shedding new light on an understudied aspect of the great architect’s career.

Benjamin Riley is the managing editor of The New Criterion, a monthly review of the arts and intellectual life based in New York. He holds degrees from Dartmouth College and the Courtauld Institute of Art, where his dissertation focused on the bridges of Robert Adam, becoming the basis for this book. His writing has appeared in The Georgian Group Journal, The New Criterion, The Spectator, and The Wall Street Journal, among other outlets. He lives in New York.

New Book | Enriching Architecture

Posted in books by Editor on February 27, 2023

From UCL Press: (also see the CraftValue project website). . .

Christine Casey and Melanie Hayes, eds., Enriching Architecture: Craft and Its Conservation in Anglo-Irish Building Production, 1660–1760 (London: UCL Press, 2023), 396 pages, ISBN: 978-1800083561 (hardback), £55 / ISBN: 978-1800083554 (paperback), £35. Available as a free PDF file here»

Refinement and enrichment of surfaces in stone, wood, and plaster is a fundamental aspect of early modern architecture which has been marginalised by architectural history. Enriching Architecture aims to retrieve and rehabilitate surface achievement as a vital element of early modern buildings in Britain and Ireland. Rejected by modernism, demeaned by the conceptual ‘turn’, and too often reduced to its representative or social functions, craft skill here is presented as a primary agent in architectural production. In contrast to the connoisseurial and developmental perspectives of the past, this book is concerned with how surfaces were designed, achieved, and experienced. Contributors draw upon the major rethinking of craft and materials within the wider cultural sphere in recent years to deconstruct traditional, oppositional ways of thinking about architectural production. This is not a craft for craft’s sake argument but an effort to embed the tangible findings of conservation and curatorial research within an evidence-led architectural history that illuminates the processes of early modern craftsmanship. The book explores broad themes of surface treatment such as wainscot, rustication, plasterwork, and staircase embellishment, together with chapters focused on virtuoso buildings and set pieces which illuminate these themes.

Christine Casey is Professor in Architectural History and a fellow of Trinity College Dublin.
Melanie Hayes is Post-Doctoral Research Fellow of the Irish Research Council CraftValue project at Trinity College Dublin.


List of figures
List of contributors
List of abbreviations
Foreword by Glenn Adamson

Introduction, Enriching Architecture: Craft and Its Conservation in Anglo-Irish Architectural Production, 1660–1760 — Christine Casey and Melanie Hayes

Part 1 | Loss and Retrieval
1  ‘Onslow Palace’: New Evidence of Eighteenth-Century Craft Technique at Clandon Park — Sophie Chessum
2  Piercing the Surface: Virtuoso Wooden Staircases from Cassiobury Park and Eyrecourt Castle — Mechthild Baumeister and Andrew Tierney
3  Fragments of Eighteenth-Century Craftsmanship: The Pearson Collection — Peter Pearson
4  Experiments with Historic Light in Kensington Palace’s Early Eighteenth-Century Interiors — Lee Prosser
5  Retrieving Craft Practice on the Early Eighteenth-Century Building Site — Melanie Hayes
6  Conserving Craft in Eighteenth-Century Buildings: The Role of the Conservation Architect — Tony Barton

Part 2 | Design and Making
7  The Geometry of Rustication: An Eighteenth-Century Case Study — Edward McParland
8  The Rough and the Smooth: Stone Use in Dublin, 1720–60 — Patrick Wyse Jackson and Louise Caulfield
9  Drawing out a Surface in Lime and Hair — Jenny Saunt
10  ‘Agreeable to Live in’: The Wainscoted Interior in Eighteenth-Century Britain and Ireland — Christine Casey
11  A Glorious Ascent: Staircase Design, Construction, and Craft in the Circle of Richard Castle — Andrew Tierney


Symposium | The Power and Prestige of Collecting

Posted in conferences (to attend) by Editor on February 26, 2023

From Haughton International, where one can find full speaker and lecture descriptions:

The Power and Prestige of Collecting: Private and Museum Collections and Their Survival
Haughton International Seminar
Society of Chemical Industry, 14–15 Belgrave Square, London, 28–29 June 2023

Jingdezhen (Jiangxi Province, China), The ‘Kylin’ Clock, 2nd half of the 18th century; mounts, ca.1700–1822; porcelain, gilt bronze, 112 × 81 × 37 cm (whole object) (Royal Colleciton Trust, 2867).

This year’s Haughton International Seminar will address the power and prestige of collecting. It will include a tour of the Royal Collection as well as private and museum collections, focusing on how such works of art might be presented to future generations and what lessons the past might contain to direct the future.

Cost of the two day seminar: £110. Cost of the two-day seminar with champagne reception and dinner at The Athenaeum (Wednesday, 28th June): £190. Student tickets for the two-day seminar (on production of ID): £60. Booking in advance through the website is essential due to limited numbers. Box office now open.

Copies of lectures from past seminars are available at the videos and articles section of the symposium website.

L E C T U R E S ,  2 8 – 2 9  J U N E  2 0 2 3

• Private and Public Museums in China — Rose Kerr, Honorary Associate of the Needham Research Institute in Cambridge, previously Keeper of the Far Eastern Department at the Victoria and Albert Museum, 1978–2003

• One Family’s Legacy: The Treasures of Burghley House — Miranda Rock, Executive Chair of the Burghley House Preservation Trust

• The Royal Collection in the Reign of Queen Elizabeth II — Caroline de Guitaut, Deputy Surveyor of The King’s Works of Art

• Medici Porcelain — Timothy Wilson, Honorary Curator, Department of Western Art, Ashmolean Museum

• ‘… Let No Man Put Asunder’: How Much Do Collections Matter? — Timothy Schroder, FSA, Former Curator, Lecturer, and Author

• Has Collecting Really Died or Just Changed Direction? — Anna Somers Cocks OBE, Founder editor of The Art Newspaper

• The Corning Museum of Glass: Nearly 75 Years of Collecting, Research, and Inspiration — Karol Wight, President and Executive Director, The Corning Museum of Glass

• Heaven on Earth: The Phenomenon of Baroque Austrian Monasteries — Claudia Lehner-Jobst, Director, Augarten Porcelain Museum, Vienna

• ‘You, That Way; We, This Way’: Whither the Future of Public Collections in the United States? — Matthew Hargraves, Director, Wadsworth Atheneum Museum of Art

• Kings & Queens and Soup Tureens: The Evolution of the Campbell Collection — Patricia Halfpenny, Vice President Northern Ceramic Society, Curator Emerita Ceramics and Glass, Winterthur Museum

• A Prince’s Treasure: From Buckingham Palace to the Royal Pavilion, The Return of the Royal Collection to Brighton — David Beevers, FSA, Former Keeper Royal Pavilion, Brighton

• Hungry for the Past: Baroque Buffets, Ducal Desserts, and Rococo Suppers — Ivan Day, Food Historian, Museums and Country House Consultant

• The Soane Museum and What Is to Come of It? — Bruce Boucher, Director, Sir John Soane’s Museum

• A Manufactury‘s Past, Present, and Future: The Collection of Museum Schloss Fürstenberg — Christian Lechelt, Director, Museum Fürstenberg

New Book | Women Artists in the Reign of Catherine the Great

Posted in books by Editor on February 25, 2023

From Lund Humphries:

Rosalind P. Blakesley, Women Artists in the Reign of Catherine the Great (London: Lund Humphries Publishers, 2023), 152 pages, ISBN: 978-1848225459, £45.

Book coverCatherine the Great’s audacious power grab in 1762 marked a watershed in imperial Russian history. During a momentous 34-year reign, her rapacious vision and intellectual curiosity led to vast territorial expansion, cultural advancement, and civic, educational and social reform. In this pioneering book, Rosalind Blakesley reveals the remarkable role women artists played in her pursuit of these ambitions. With challenging commissions for an elite cast of Russian patrons, their work underscores the extent to which cultural enrichment co-existed with the empress’s imperial designs.

Catherine’s acquisitions propelled renowned artists to new heights. The history paintings that she purchased from Angelica Kauffman brought the Swiss artist to the attention of keen new patrons, while Elisabeth Louise Vigée Le Brun found in Russia safe refuge from the horrors of revolutionary France. Just as important were Catherine’s relationships with lesser-known artists. The young sculptor Marie-Anne Collot made the arduous journey from Paris to St Petersburg to assist on the equestrian monument to Peter the Great and enthralled Russian society with her portrait busts, while Grand Duchess Maria Fedorovna, wife of Catherine’s troubled son Paul, sculpted cameos which the empress sent to distinguished correspondents abroad. With stories of extraordinary artistic endeavour intertwined with the intrigue of Catherine’s personal life, Women Artists in the Reign of Catherine the Great uncovers the impact of these and other artists at one of Europe’s most elaborate courts.

Rosalind Polly Blakesley, a prize-winning writer and academic, is Professor of Russian and European Art and a Fellow of Pembroke College at the University of Cambridge. A Trustee of the V&A and Syndic of the Fitzwilliam Museum, she has authored books including The Russian Canvas (Yale University Press, 2016) and The Arts and Crafts Movement (Phaidon Press, 2006), and curated exhibitions at the National Portrait Gallery, London, and the National Museum of Women in the Arts, Washington DC.


Conventions and Abbreviations

1  Inscribing a Future Empress
2  Catherine Enthroned
3  The Academy and the Hermitage
4  A Parisian Find
5  The Chisel and the Mallet
6  Unexpected Treasures
7  The Doyenne of Rome
8  An Artist in the Family
9  The Triumphant Refugee

List of Illustrations

Study Day | Women Collectors at the Turn of the 20th Century

Posted in conferences (to attend) by Editor on February 25, 2023

From the conference programme:

Her Discerning Eye: Women Collectors at the Turn of the 20th Century
The National Trust and Waddesdon Manor Annual Conference
Waddesdon Manor, 28 March 2023

We are delighted to announce the programme for Her Discerning Eye: Women Collectors at the Turn of the 20th Century. The conference will be held at Waddesdon Manor on Tuesday, 28th March. Our invited speakers will be talking on Joséphine Bowes, Yolande Lyne Stephens, Charlotte Schreiber, Hannah Gubbay, Queen Alexandra, and Queen Mary. The study day was inspired by our work on Margaret Greville and Alice de Rothschild. To book a place please email enquiries@waddesdon.org.uk. The conference is free; a charge for lunch will be payable on the day (please let us know of any dietary requirements). If you have any questions please do email us: Mia.Jackson@waddesdon.org.uk and Alice.Strickland@nationaltrust.org.uk.

–Mia Jackson and Alice Strickland


10.30  Registration and Coffee

11.00  Session One
• Tom Stammers (Associate Professor in Modern European Cultural History, University of Durham) — Recovering Female Collectors: Paradigms and Challenges
• Lindsay Macnaughton (Lecturer, University of Buckingham) — Some Fragments from the Boweses’ Collection and the Difficulties of Singling out Joséphine’s Taste
• Laure-Aline Griffith-Jones (Independent Art Historian) — Yolande Lyne Stephens: A French Collection in Victorian England

12.30  Lunch

13.30  Session Two
• Caroline McCaffrey-Howarth (Lecturer in French and British History of Art c.1650–1900, University of Edinburgh) — Charlotte Schreiber: Becoming a Ceramics Collector
• Mia Jackson (Curator of Decorative Arts, Waddesdon Manor) and Pippa Shirley (Director of Waddesdon Manor) — Alice de Rothschild’s Dishes and Daggers
• Patricia F. Ferguson (Independent Scholar) — Shaping Ceramic Connoisseurship: Mrs. David Gubbay, ‘Collector of Genius’

15.00  Session Three
Tour of the exhibition Alice’s Wonderlands: Alice as a Collector

16.00  Final Session
• Alice Strickland (Curator, National Trust) — ‘Full of Rare China and Expensive Treasures’: The Collection of Margaret Greville at Polesden Lacey, Surrey
• Caroline de Guitaut (Deputy Surveyor of The King’s Works of Art) — Embracing the Modern and Fashionable: Queen Alexandra as Collector
• Kathryn Jones (Senior Curator of Decorative Arts, Royal Collection Trust) — ‘Quite a Creditable Collection’: Queen Mary as Collector and Curator

17.30  Closing Comments — Mia Jackson and Alice Strickland

Exhibition | Muse or Maestra? Women in Italian Art, 1400–1800

Posted in books, catalogues, exhibitions by Editor on February 24, 2023

Rosalba Carriera, Self-Portrait of the Artist, detail, 1707–08
(Staatliche Museen zu Berlin, Kupferstichkabinett / Jörg P. Anders)

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From the Staatliche Museen zu Berlin:

Muse or Maestra? Women in the Italian Art World, 1400–1800
Muse oder Macherin? Frauen in der italienischen Kunstwelt 1400 – 1800
Kupferstichkabinett, Berlin, 8 March — 4 June 2023

Curated by Dagmar Korbacher

Featuring some 90 works, this special exhibition organised by Berlin’s Kupferstichkabinett elucidates the lives and impact of women such as Rosalba Carriera, Artemisia Gentileschi, Elisabetta Sirani, Diana Scultori, Isabella d’Este, Christina, Queen of Sweden, and others. Their works, fates and enormous influence on the art world of their times have in part been forgotten today.

During the Renaissance and Baroque periods, the art of these women outshone that of their fathers, brothers, and husbands. They created and collected oeuvres that were sought after throughout Europe. They knew how to market themselves and how to network. The protagonists in the exhibition comprise not only women artists who created works in demand, but also wives who supported their husbands and posed for them as models and female patrons who gave commissions for artworks and supported women artists, as well as preservationists and collectors who kept and passed on the works.

Not only does the exhibition show the art of these women, it also provides details about the circumstances of their lives to the extent that this information is known. A number of issues are addressed. These include determining what influence being a woman had on these women’s roles in the art world, whether or not they married and became mothers, and which strategies they pursued to assert themselves in a man’s world, thus making it possible for us to still find traces of their respective impacts.

Women’s diverse, active roles in Italian art are presented with drawings and prints until 1800 from the Kupferstichkabinett’s vast collection, as well as some outstanding loans. In various interventions in the exhibition and catalogue, the youth advisory panel of the Staatliche Museen zu Berlin, Achtet AlisMB, contributes the younger generation’s perspective on this topic.

Muse or Maestra?: Women in the Italian Art World, 1400–1800 is curated by Dagmar Korbacher, director of the Kupferstichkabinett. A catalogue accompanies the exhibition.


New Book | Afterlives: Recovering the Lost Stories of Looted Art

Posted in books, catalogues, exhibitions by Editor on February 23, 2023

The exhibition was at the Jewish Museum in New York from August 2021 until January 2022. From Yale UP:

Darsie Alexander and Sam Sackeroff, with contributions by Julia Voss and Mark Wasiuta, Afterlives: Recovering the Lost Stories of Looted Art (New Haven: Yale University Press, 2022), 280 pages, ISBN: 978-0300250701, $50.

A strikingly original exploration of the profound impact of World War II on how we understand the art that survived it

By the end of World War II an estimated one million artworks and 2.5 million books had been seized from their owners by Nazi forces; many were destroyed. The artworks and cultural artifacts that survived have traumatic, layered histories. This book traces the biographies of these objects—including paintings, sculpture, and Judaica—their rescue in the aftermath of the war, and their afterlives in museums and private collections and in our cultural understanding. In examining how this history affects the way we view these works, scholars discuss the moral and aesthetic implications of maintaining the association between the works and their place within the brutality of the Holocaust—or, conversely, the implications of ignoring this history. Afterlives offers a thought-provoking investigation of the unique ability of art and artifacts to bear witness to historical events. With rarely seen archival photographs and with contributions by the contemporary artists Maria Eichhorn, Hadar Gad, Dor Guez, and Lisa Oppenheim, this catalogue illuminates the study of a difficult and still-urgent subject, with many parallels to today’s crises of art in war.

Darsie Alexander is the Susan and Elihu Rose Chief Curator, and Sam Sackeroff is the Lerman-Neubauer Assistant Curator at the Jewish Museum, New York.

Workshop | Provenance Research in Action

Posted in opportunities by Editor on February 22, 2023

From the Society for the History of Collecting:

Provenance Research in Action: Theory, Tools and Implementation
London, 12–16 June 2023

Organized by Adriano Ayomino, Silvia Davoli, Lisa de Zoete, and Barbara Furlott

Applications due by 10 March 2023

Join a week-long, hands-on workshop on provenance research and due diligence in the heart of the London art world. Run by the Society for the History of Collecting in partnership with some of the most relevant London-based museums, libraries, and academic institutions, the workshop aims to introduce students and young professionals to the tools, good practices, and best methodologies involved in researching provenance for paintings, decorative arts, books, archives, etc. Small group workshops, run by professionals in the sector, have been designed to provide an effective method of teaching of the theoretical and practical aspects of provenance research today.

Applicants should send a letter of motivation (no longer than 750 words) and a brief CV (no longer than 1 page) to barbara.furlotti@courtauld.ac.uk by 10 March, 2023. The workshop does not include travel, accommodation, or food (unless specified in the program). Cost for participation is £150 for the full workshop.

A pdf version of the schedule is available here»

Robbie Richardson and Ruth Phillips on Indigenous Objects Abroad

Posted in lectures (to attend), online learning by Editor on February 21, 2023

Profile of a smoking pipe on black background

Smoking-pipe, 1600–1750, soapstone, 9.5 × 10 × 5.5 cm (London: The British Museum, Am1991,09.1). As noted in the catalogue entry: “The pipe bowl is from the painter Benjamin West’s studio, and was used as a model in both Death of Wolfe and Penn’s Treaty with the Indians.”

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From the Mellon Centre:

Robbie Richardson and Ruth Phillip on Indigenous Objects Abroad
Online and in-person, Paul Mellon Centre, London, Wednesday, 1 March 2023, 5–7pm

Part of the series ‘In Conversation: New Directions in Art History’, which will explore the changing modes and methodologies of approaching visual and material worlds. Book tickets here.

Robbie Richardson | ‘Peace Pipes’ in Europe: Collecting the Calumet in the Eighteenth Century

This talk will consider early European collections of Indigenous tobacco pipes, often called ‘peace pipes’ or calumets (a word of French origin). Described as “the most mysterious thing in the world” by seventeenth-century Jesuits for their perceived power and significance among south-eastern nations, pipes would over time become one of the ubiquitous icons of Indigeneity in western eyes. Part of their inscrutability from the British perspective was that their own tobacco pipes were ephemeral and disposable, with many even still washing up daily on the shores of the Thames.

Towards the end of the eighteenth century, one of the most popular trade goods which Europeans brought to Indigenous nations were steel European-manufactured ‘pipe-tomahawks’, which blended metaphors of peace and war. The manifestation of this transcultural object is itself revealing of the complex dynamics of material cultural production. Notwithstanding their provenance in Sheffield and Birmingham steel mills, pipe-tomahawks became widely collected as Indigenous curiosities by British soldiers and collectors. This talk will discuss British representations of Indigenous diplomacy and spirituality through their understanding and collecting of the calumet. It will look at several of the pipes that found their ways into European collections, to unravel Indigenous practices and agency.

Robbie Richardson is Assistant Professor of English at Princeton University and the author of The Savage and Modern Self: North American Indians in Eighteenth-Century British Literature and Culture (University of Toronto Press, 2018). He has recent chapters in Material Literacy in Eighteenth-Century Britain: A Nation of Makers (Bloomsbury, 2020) and in Small Things in the Eighteenth Century: The Political and Personal Value of the Miniature (Cambridge University Press, 2022), and forthcoming pieces in Studies in Romanticism, Eighteenth-Century Studies, and Eighteenth Century: Theory and Interpretation. He is currently working on a monograph about Indigenous objects from the Americas and South Pacific in Europe up until the end of the eighteenth century. He is a citizen of Pabineau Mi’kmaq First Nation in New Brunswick, Canada.

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Ruth Phillips | Curiosity and Belonging: Legacies of Eighteenth-Century Collecting in the Twenty-First Century

This talk will examine two contrasting modes of engagement between Europeans and Indigenous peoples in eighteenth-century North America and how these interactions led to the formation of public and private collections. It will urge that in the twenty-first century developing accurate understandings of eighteenth-century collecting practices can usefully disrupt assumptions about the restitution of Indigenous cultural belongings.

The periodic wars waged for colonial control of eastern North America brought tens of thousands of British, French, German and Swiss soldiers into the region. Both officers and common soldiers were avid collectors of curiosities for themselves, to present to patrons and family members, and to resell at a profit. Indigenous makers, for their part, actively produced finely made ornaments, pipes, moccasins and other items for the trade, acquiring in return: guns and tools that made hunting and warfare more effective; rum, tea, pottery, woollen cloth and printed cottons that made life more enjoyable; and silk ribbons, woollen yarn, glass beads, needles, thread and manufactured wampum beads that stimulated artistic creativity. There could also, however, have been other reasons for an Indigenous maker to produce these items for outsiders, for they were also presented in diplomatic negotiations to ratify treaty agreements and in ritual adoptions that transformed a military officer or a colonial official into a member of an Indigenous kin group who could be expected to support its interests.

Contemporary Indigenous peoples are actively tracing their cultural belongings in museum collections as part of a larger process of decolonisation that aims to recover histories of Indigenous agency and heal the damages and losses enacted by centuries of colonial rule. This talk argues that restitution, if conducted in ignorance of the historical circumstances of gifting or trade, risks, on the one hand, denying the agency of Indigenous peoples who chose to engage in curiosity production and, on the other, disappearing the material embodiments of agreements that, although made long ago, still demand to be recognised and honoured.

Ruth B. Phillips is Professor of Art History Emerita at Carleton University, Ottawa where she was also appointed to a Canada Research Chair in Modern Culture. She earned her PhD in African art history at SOAS, University of London, and has since focused on Indigenous North American arts and museology. As director of the Museum of Anthropology, University of British Columbia from 1997 to 2002 she initiated a major renewal of the museum’s digital and physical research infrastructure adapted to collaborative research with Indigenous peoples. She is the author of Trading Identities: The Souvenir in Native North American Arts from the Northeast, 1700–1900; Museum Pieces: Toward the Indigenization of Canadian Museums; and Native North American Art, with Janet Catherine Berlo. With Nicholas Thomas she organised the Multiple Modernisms project to address Indigenous modernisms in a global comparative framework, co-editing its first publication, Mapping Modernisms: Art, Indigeneity, Colonialism with Elizabeth Harney, and its second, Mediating Modernisms: Indigenous Artists, Modernist Mediators, Global Networks, with Norman Vorano. She is a fellow of the Royal Society of Canada and recipient of lifetime achievement awards from the American Anthropological Society and the Universities Art Association of Canada.

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