World Triathlon’s Executive Board has approved to allocate the 2025 World Triathlon Powerman Middle Distance Duathlon Championships to Alsdorf The event will take place on the weekend of April 26-27 The run-bike-run event is seen as an important development for the city of Alsdorf already known for its strong association with duathlon and triathlon events The city in western Germany was host of the 2024 World Triathlon Powerman Middle Distance Duathlon Championships Previously, Viborg in Denmark was a host location of the Powerman Middle Distance Duathlon Championships (a partnership between duathlon event specialist (The World Triathlon Powerman Long Distance Duathlon World Championships has traditionally been held in Zofingen a city nestled in the heart of the StädteRegion Aachen Athletes will converge on the German city to compete in the challenging race further solidifying Alsdorf’s reputation as a destination for multisport competitions The allocation of the championship to Alsdorf has been made possible through the continued support of the German Triathlon Federation (DTU) Its commitment has been instrumental in securing the event and World Triathlon notes that Germany’s national governing body… ‘will ensure the 2025 Powerman Middle Distance Duathlon will meet the highest standards of organization and competition.’ “With Germany’s long-standing tradition of hosting top-tier sports events Powerman and the local organisers will provide an exceptional experience for both athletes and fans upholding the prestigious nature of this world championship,” said World Triathlon President and IOC Member director of the local organising committee (LOC) said “We are incredibly proud and humble at the same time When we launched the first duathlon event back in 2010 nobody would have expected the Eschweiler Marathon Club to host duathlon world championships “We are already looking forward to the race weekend and will offer all athletes Find all the information you need—plus helpful tips—to plan your visit Explore the works in our collection and delve deeper into their stories Join us for a wide range of programs—there's something for visitors of all ages Fragment of a pilaster with Krishna lifting Mount Govardhana I joined the provenance research team at the Art Institute tasked with studying objects in the collection from Southeast Asia By <a href="https://www.artic.edu/authors/199/nicolas-revire" rel="author">Nicolas Revire</a> My specialty is Hindu-Buddhist art and archeology of early Southeast Asia I came upon a Khmer pilaster from the 12th century that immediately piqued my interest A pilaster is a rectangular column found on the exterior walls of temples It had originally adorned the entrance to a temple from the ancient Khmer civilization which is known for its impressive temples and sculptures this Krishna pilaster was believed to have originated from the ancient capital of Angkor in present-day Cambodia The greatest extension of the Angkor Empire in the 12th–13th centuries the Khmer region of the kingdom of Angkor extended well beyond the modern borders of Cambodia encompassing areas within present-day Thailand and as I immersed myself in the pilaster’s intricate style and iconography subtle nuances emerged that challenged its presumed Cambodian origin The detailed motifs and structural elements of the Krishna pilaster suggested a closer affinity with Khmer art found in northeast Thailand renowned for its historical sites like Phimai and Phanom Rung Before reconstruction of the temple began in 1971 the passage of time had reduced it to a heap of stones This affinity gained credence as I uncovered a compelling link between the Krishna pilaster and another significant Khmer artifact that had once been part of the Art Institute collection—another decorative stone piece a magnificent piece that today is prominently displayed above the main sanctuary entrance of the Phanom Rung temple in Buriram province had been repatriated by the Art Institute to Thailand in November 1988 Fragment of a stone lintel relief with reclining Vishnu I quickly came to realize that the Krishna pilaster likely belonged to the same architectural ensemble at the Phanom Rung temple Extensive archival research and library studies led me to a missing pilaster base at the temple’s main sanctuary eastern entrance A digital reconstruction of the pilaster with the temple’s missing stone aligned seamlessly Digital rendering showing how the pilaster fragment would appear in situ I reached a pivotal moment with a site visit to the Phanom Rung temple The ancient stones provided compelling visual and tactile confirmation: the intricate floral scrollwork featuring the unique appearance of the flying hamsa within the leaf pattern; the narrative scenes depicting Lord Krishna’s miracles; and the distinctive reddish sandstone indigenous to northeast Thailand These all matched the Art Institute pilaster in striking detail Note the similarities between the existing pilaster fragment at Phanom Rung and the top half of the Art Institute’s pilaster fragment The existing pilaster fragment at Phanom Rung the dimensions and orientation of our artifact perfectly aligned with the architectural remnants at the site which made sense as it turned out that both the pilaster and the lintel had been purchased in January 1966 in Bangkok by a New York–based art dealer The dealer had subsequently sold them to James Alsdorf a prominent Chicago-based collector who served as a long-time patron and trustee of the Art Institute The pilaster came directly to the museum in February 1966 Equipped with overwhelming evidence of the Krishna pilaster’s original location at Phanom Rung it was clear that it should follow the path taken by the lintel and be reunited with its original structure So after a thorough internal review involving all relevant parties and stakeholders and following confirmation of the Thai government’s interest in the return the board of trustees at the Art Institute of Chicago approved its repatriation in June 2024 with missing pilaster base (left) and decorative lintel (right) The return of this ancient and sacred artifact to the people of Thailand demonstrates how provenance and proactive research can make a profoundly meaningful impact rectifying historical misattributions and fostering a mutual respect for cultural heritage and understanding across borders Arts of Asia and Curatorial Documentation and Research 1966 [letter from Eisenberg to the Alsdorf Foundation 1988; copy in curatorial object file]; sold to the Alsdorf Foundation 1966; copies in curatorial object file]; on long-term loan at the Art Institute of Chicago 1990 [publicly promised as a gift to the Art Institute of Chicago 1997; signed a promised gift agreement for the work 2002]; given to the Art Institute of Chicago and Southeast Asian Art from the James and Marilynn Alsdorf Collection “The Art of the Ancient World,” Catalog of the Royal-Athena Galleries Vol Pratapaditya Pal with contributions by Stephen Little and Southeast Asian Art from the James and Marilynn Alsdorf Collection (Chicago: The Art Institute of Chicago in association with Thames and Hudson Visit the collection page of the deaccessioned pilaster and read the press release from June 2024 The MCA is saddened by the passing of Life Trustee Marilynn Alsdorf the first inaugural member of the MCA and the last founding trustee to pass 52 years after the museum opened its doors A devoted supporter of the MCA throughout her long tenure and passion for the arts will be greatly missed The Alsdorf family’s involvement with the MCA began when Marilynn and her late husband and a small group of art enthusiasts established the Museum of Contemporary Art in 1967 Marilynn continued the family’s commitment to the museum with extensive philanthropic activity that connected the MCA with key cultural partners across the city is named in fitting recognition of her family’s generosity to the museum and their support of the museum’s pursuit of excellence in art history and curatorial study Marilynn and James were renowned collectors of art and together built a wide-ranging collection of works from early renaissance to Indian and Southeast Asian to modern masters The Alsdorf Foundation helped the MCA secure a particular work by Sol LeWitt (One- and Diagonal Left and Right Bands of Color 1993–94) which remains an esteemed addition to the MCA Collection This website is made possible in part by the Kovler Web Fund. Privacy Policy. Terms of Use The statue of Buddha that was up for sale at Christie’s auction house was an early test: Would recent controversy around objects once owned by two prominent Chicago collectors hinder its sale and send a signal about how the art market views the renowned collection The answer came quickly. The 7 1/4-inch copper-alloy Buddha from 9th-century Nepal which had been on loan to the Art Institute of Chicago until last year It never received a bid in the estimated price range of $60,000 to $80,000 “Nobody wants to buy trouble,” said Erin Thompson an associate professor of art crime at John Jay College of Criminal Justice in New York who has advocated for repatriation of Nepali artifacts “Why would you buy someone else’s stolen cultural property?” Although the Christie’s auction was a single sale of a single object art experts said it was telling nonetheless The rare Buddha had been in the collection of James and Marilynn Alsdorf whose massive art holdings focused on pieces from Nepal and other parts of South and Southeast Asia The Christie’s spokesperson said 63% of the auction’s 124 lots found buyers The Alsdorfs obtained the Buddha at a time when protocols around collecting were lax and it was sold to them by a New York dealer who at the end of his career acknowledged engaging in questionable practices Ethical standards for acquiring antiquities became more strict after a 1970 UNESCO convention prohibited the import of looted cultural property The Buddha was on loan to the Art Institute beginning in the late 1990s and was last on display in 2018 at the museum which has galleries dedicated to the Alsdorfs’ vast Asian collection who once led the museum’s board of trustees Last week, ProPublica and Crain’s Chicago Business published an investigation into Nepal’s claims that the Art Institute should return a 17th-century gilt-copper necklace that is on display in its Alsdorf Galleries as well as questions about other objects in the couple’s collection The investigation identified nine pieces once owned by the Alsdorfs that have been returned to other countries based on concerns they were looted or illicitly exported a pattern some art historians said should spur the Art Institute to take a deeper look at the approximately 500 Alsdorf objects in its collection The investigation also showed that the Art Institute hasn’t kept up with other museums that take a more transparent approach to these problems by publicly sharing information when an object is repatriated He is listed as an executor of his mother’s estate and sits on the board of the Alsdorf Foundation according to the most recent publicly available tax records also did not respond to a request for comment The Buddha up for sale at Christie’s was taken off display at the Art Institute in 2018 when the museum reinstalled its galleries all of her remaining loans to the museum were concluded in 2022 The Art Institute has said it follows best practices for investigating and documenting ownership history of the objects in its collection and has added staff dedicated to that process The museum also has said it takes all repatriation claims seriously but has noted that they’re complex and often take time to resolve Pieces from Italy and Greece have also recently been removed from auctions after researchers linked their provenance to known antiquities smugglers and publicized concerns about them prospective buyers may be worried about the potential resale value of an object that has garnered controversy a distinguished research professor specializing in cultural heritage law at DePaul University Am I buying bad publicity?’” Gerstenblith said “There’s a lot of short-term and longer-term concerns and I do believe that once something is out there This isn’t the first time that bidders have been wary of an Alsdorf piece on the auction circuit. In June 2020, a Benin bronze sculpture of a fish, acquired by the Alsdorfs in 1957 failed to sell at a Christie’s auction in Paris the Buddha up for sale had been purchased by the Alsdorfs from an art dealer named William Wolff It isn’t clear when the Alsdorfs purchased the piece from him Wolff had a gallery on Madison Avenue in New York City Although he was widely considered one of the nation’s top dealers in Asian antiquities Wolff acknowledged near the end of his career that some of his dealings had occurred under questionable circumstances said that in many countries where he acquired objects He said he utilized a network of “scouts” to transport the pieces “The fellows I bought from knew how to get it out of the country,” he told the Los Angeles Times in 1990 when he closed his gallery because of rising rent “Otherwise they would not have been able to sell it.” the increased attention on cultural artifacts in museums and private Western collections is long overdue Activists with the Nepal Heritage Recovery Campaign an organization that works to repatriate stolen objects to the country have been pressing the Art Institute to return more objects donated to the museum by the Alsdorfs who were major financial supporters of Chicago’s arts community A gilt-copper necklace at the Art Institute is perhaps the strongest symbol of the questions plaguing the Alsdorf collection The Nepali government first asked the Art Institute to return the necklace in August 2021 alleging the piece had been stolen from a secure location in Nepal and illicitly exported from the country The necklace is said to have been offered to the Hindu goddess Taleju by a Nepali king in about 1650 The slow pace of negotiations has frustrated Nepali activists art historians and cultural heritage scholars following the case New details reported by Crain’s and ProPublica showed that the Art Institute asked Nepal to provide more evidence establishing ownership of the necklace despite the decades that have passed since the piece went missing from the country Following the ProPublica-Crain’s investigation Gerstenblith said it’s unlikely those records exist She called on the Art Institute to return the necklace if Nepal can show it came from the country and has ongoing cultural significance to its people “To ask a country to come up with that type of documentation is as if they’re in a court of law,” Gerstenblith said “It’s my opinion that the point of having an ethical policy is to actually move beyond that and to shift the burden to the Art Institute.” I’m interested in any and all tips about stories anywhere in the Midwest ProPublica will focus on the areas most in need of scrutiny Here are some of the issues our reporters will be watching — and how to get in touch with them securely Learn more about our reporting team. We will continue to share our areas of interest as the news develops I cover health and the environment and the agencies that govern them including the Environmental Protection Agency including the companies working in those fields and the regulators overseeing them If you don’t have a specific tip or story in mind, we could still use your help. Sign up to be a member of our federal worker source network to stay in touch We’re trying something new. Was it helpful? Email Address: Arrow Right Sign Up ProPublica Investigative Journalism in the Public Interest © Copyright 2025 Pro Publica Inc Creative Commons License (CC BY-NC-ND 3.0) Thank you for your interest in republishing this story You are free to republish it so long as you do the following: ShareThe Collection of James and Marilynn AlsdorfSuperb works spanning Chinese Himalayan and Southeast Asian Art are among the highlights of one of the finest cross-category collections ever presented at auction For renowned Chicago collectors and philanthropists James and Marilynn Alsdorf collecting art represented a unique opportunity for exploration ‘We looked for objects,’ Marilynn said ‘to delight our eyes and our souls.’ Over the course of their four-decade marriage the couple assembled a remarkable collection of artworks and objects spanning all eras and areas of the world James and Marilynn Alsdorf built a life that was centred on art my grandparents were the picture of elegance but to their family and many friends they were known for their warmth and humour,’ recalls Bridget Alsdorf ‘Studying and collecting art was their all-consuming passion Their spirit of adventure was unique; they went places that few collectors at the time were curious and confident enough to explore.’ which they visited for the first time in 1968 It was during this trip that they met former Prime Minister Indira Gandhi and French novelist and Minister of Cultural Affairs a close friend of the art dealer Robert Rousset from whom they had acquired their first work of art in 1955 Southeast Asian and Himalayan art informed their early collection in the 1960s at a time when such works were largely undervalued ‘They were not strategic in their collecting,’ recalls Bridget ‘They were guided by what fascinated them and gave them pleasure the Alsdorfs were loyal supporters of museums and cultural institutions across Chicago and the wider United States including the National Gallery of Art in Washington the Leigh Block Museum of Art at Northwestern University and the Art Institute of Chicago James Alsdorf served as Chairman of the AIC from 1975 to 1978 In 1967, the Alsdorfs joined other prominent Chicago collectors, including, Edwin and Lindy Bergman and Robert and Beatrice Mayer in founding the Museum of Contemporary Art Chicago an institution to which they would provide extensive financial and personal leadership After James’s passing in 1990, Marilynn, who was known as ‘the queen of the Chicago arts community’, collected works by René Magritte, Wassily Kandinsky and Frida Kahlo She continued to build upon her husband’s legacy in art and philanthropy making a transformative bequest to the AIC in 1997 (which was celebrated with a landmark exhibition: A Collecting Odyssey: Indian and Southeast Asian Art from the James and Marilynn Alsdorf Collection) and funding a curatorial position in Indian and Southeast Asian Art at the AIC in 2006 Shapiro Award from the Smart Museum of Art a weekly newsletter delivering our top stories and art market insights to your inbox Among the treasures offered in the Sacred and Imperial Part I on 24 September are a rare gilt-bronze figure of Vajrapani dating to the 9th-10th century (above), and a rare and magnificent 11th-century bronze figure of Shiva as Vanquisher of the Three Cities (Shiva Tripuravijaya) from South India (below).  During the first century and a half of Chola rule in India (c. 855-1280), representations of Shiva as Vanquisher of the Three Cities, holding a bow in his upraised left hand and an arrow in his lowered right hand, were revered by Chola kings.  Devotional bronze icons such as the present example were usually worshiped during temple rituals. The power inherent in images of Shiva as a mighty warrior and conqueror was an important symbol for Chola rulers, who were themselves actively seeking to expand their territory.  Another standout work from Part I is a rare larger than life-size marble head of Buddha dating to the Sui dynasty (550-618 AD). This head is more sensitively modeled than those of earlier sculptures of the Buddha and thus less mask-like.  Like virtually all early Buddhist sculptures of stone and wood, it would have been originally embellished with brightly coloured mineral pigments.  Other notable highlights include a Qianlong-period (1736-1795) guan-style pear-shaped vase, covered with a greyish-blue glaze suffused with a golden crackle. Made in the Yongzheng (123-1735) and Qianlong periods (1736-1795), this form of vessel was primarily used for holding wine. Also offered is an album of landscapes and calligraphy attributed to the Ming-dynasty painter and poet Zhang Ruitu (1570-1641) from 1625. Part I also features a large bronze figure of Uma, which comes fresh to market for the first time in more than thirty years; and a 15th-century Ming-dynasty gilt-bronze sculpture representing the White-Robed Guanyin, the graceful bodhisattva of compassion.  Part II spans Chinese Works of Art and paintings, Indian, Himalayan and Southeast Asian art, as well as Japanese art and European decorative arts and fine art. Highlights of Part II include a gilt-bronze figure of Amoghapasha Lokeshvara, a blue and white ‘dragon’ dish (above), and a hanging scroll depicting a horse by Xu Beihong (1895-1953). The sale also presents a selection of decorative arts from the Alsdorfs’ Chicago residence. Last November’s selection from The Alsdorf Collection was led by René Magritte’s darkly romantic Le seize septembre (1957) one of a series of four pictures painted between 1956 and 1958 depicting a crescent moon in front of a tree in what Magritte described as ‘the bluish-grey colours of the evening’ is chronologically the third and by far the largest in size the tree filling the canvas from top to bottom.  a rare-to-market example of the artist’s early talent This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page passed away peacefully at home on Wednesday Born and raised on the grounds of the Allendale Coal and Lumber Co. Arthur dedicated many years of his life to the town of Allendale serving as the Assistant Superintendent of the Allendale Water Department for 39 years as a member of the Allendale Police Department for 26 years and as a member of the Fire Department for 69 years.  Arthur held the position of Chief of the Allendale Fire Department from 1965-1966 lovingly referred to as “Big Art” loved spending time with his grandchildren Beloved husband to Margo (nee Ackerson) for 38 years Son of John and Viola (nee Benjamin) Alsdorf Loving father of son Arthur “Little Art” (predeceased) daughter Maryann Williams and husband George step-daughter Lori Martin and husband Stephen Proud Grandfather to Maryann Muzzillo and Kris Muzzillo Visitation will be held on Friday September 10th from 4 - 8 PM at Van Emburgh-Sneider-Pernice Funeral Home located at 109 Darlington Ave A funeral service will be held on Saturday September 11 2021 at 10:00 AM at Van Emburgh-Sneider-Pernice Funeral Home followed immediately by interment at Maryrest Cemetery in Mahwah photo by Chris Fascenelli; Middle: Yuri Leving photo by Anne Gonschorek; Right: Bridget Alsdorf Three Princeton faculty members have received 2023 Guggenheim Fellowships professor of art and archaeology; Yuri Leving professor of Slavic languages and literatures; and Tali Mendelberg the John Work Garrett Professor in Politics director of the Program on Inequality at the Mamdouha S Bobst Center for Peace and Justice and co-director of the Center for the Study of Democratic Politics.  and four undergraduate and graduate alumni — Elizabeth Bearden Class of 2002 and a 2009 graduate alum — also received 2023 Guggenheim Fellowships The Princeton scholars are among 171 to receive fellowships from a pool of almost 2,500 applicants — a diverse group of scholars writers and scientists — appointed on the basis of prior achievement and exceptional promise I believe that fullness in life comes from following our calling,” said Edward Hirsch President of the Guggenheim Foundation and 1985 Fellow in Poetry “The new class of Fellows has followed their calling to enhance all of our lives to provide greater human knowledge and deeper understanding We’re lucky to look to them to bring us into the future.” She was awarded the Guggenheim in the field of fine arts research He was awarded the Guggenheim in the field of intellectual and cultural history Her areas of specialization are political communication political psychology and experimental methods This semester she is teaching the graduate seminar “Political Psychology.” She was awarded the Guggenheim in the field of political science ProPublica is a nonprofit newsroom that investigates abuses of power. Sign up for Dispatches a newsletter that spotlights wrongdoing around the country to receive our stories in your inbox every week Crain’s Chicago Business and ProPublica have identified at least nine objects once owned by James and Marilynn Alsdorf that have been sent back to their countries of origin since the late 1980s Nepali activists — and government officials in one case — are pressing for the return of more Alsdorf objects donated to the Art Institute of Chicago saying they have evidence the pieces may have been looted and sold on the art market (Marilynn Alsdorf’s son and an attorney for her trust declined to comment for this story.) Sculpture of Tara: The Yale University Art Gallery in May returned to Nepal a stone sculpture of a goddess that had once belonged to the Alsdorfs The Alsdorfs had sold the piece in a 2002 Sotheby’s auction; it was later donated to the gallery Stone stele of Nagaraja: This 12th century piece was one of three objects sent back to Nepal by the Marilynn B according to records obtained by Crain’s and ProPublica Figure of Buddha: Estimated to be from the 14th or 15th century this was one of three objects sent back to Nepal by the Marilynn B Stone stele of Padmapani: Estimated to be from the 10th or 11th century Linga with four faces: The Art Institute helped facilitate the return of this object which Marilynn Alsdorf loaned to the museum according to Nepali news reports and records obtained by ProPublica and Crain’s Marble hare: Christie’s pulled this second to third century Roman piece from a 2020 Alsdorf estate sale after receiving information that it had been linked to a convicted antiquities smuggler Christie’s helped return the piece to Italy Bronze eagle: Christie’s pulled this second to third century Roman piece from a 2020 Alsdorf estate sale after receiving information that it had been linked to a convicted antiquities smuggler Lakulisa sculpture (not pictured): Marilynn Alsdorf returned a sculpture of Lakulisa to India in 2000 after researching the piece for a 1997 exhibit at the Art Institute and finding issues with its provenance Vishnu carving (not pictured): The Art Institute agreed to return to Thailand a decorative stone beam of the god Vishnu which the Alsdorfs had bought through a New York art dealer in 1967 which the Alsdorfs’ foundation donated to the museum in 1983 Taleju necklace: The Nepali government asked the Art Institute in August 2021 to repatriate the gilt-copper necklace made for a Hindu goddess which was commissioned by a Nepali king in the 17th century Bhairava sculpture: The Alsdorfs loaned this sculpture of a form of Shiva to the Art Institute in 1997 Nepali activists say they’ve located a photo of the piece that shows it was in Nepal during the 1980s and allege it could have only left the country through illicit means The photo is on a memory card that came with a book about Nepali stone sculptures Activists don’t know the exact date or location of where the photo was taken The Art Institute has seen the photo and is reviewing the object’s provenance “Buddha Sheltered by the Serpent King Muchalinda”: The Alsdorfs loaned this sculpture to the Art Institute in 1997 Nepali activists have located a photo that they say shows the piece in Nepal in 1970 and say it may have been looted from that site A spokesperson for the Art Institute said the museum has seen the photo which is published in an archive created by art history professors Wooden Tara: The Alsdorfs loaned this piece to the Art Institute in 1997 that they say shows the piece in a temple and is evidence the object may have been illicitly removed from Nepal after that time The Art Institute has seen the photo but hasn’t concluded the piece is the same By <span itemprop="author">Katy Rose O'Brien and Elizabeth Dudgeon</span> If you’ve wandered through the Alsdorf Galleries in the past few weeks you may have wondered what’s going on—why sections of the galleries have been roped off and hidden with black screens why the formerly covered windows are exposed and why museum staff are actively moving artwork in the high-traffic space It’s all part of a rapid but extensive reinstallation opening this Saturday that will dramatically change the ways visitors interact with the space we spoke with exhibition designer Samantha Grassi to get her insights into the project which she worked on in close collaboration with Alsdorf Associate Curator of Indian the museum’s president and director] was to make the space feel brighter and lighter—to take a more editorial approach to the design that helps visitors really focus on the objects,” she explained Because the Alsdorf Galleries are located in a long corridor that bridges the Michigan Avenue building and the Modern Wing And while this location offers great visibility for the collection The reinstallation will present objects in thematic groupings, a subtle shift away from the strictly regional groupings of the previous design. The first gallery that visitors encounter upon entering Alsdorf from Michigan Avenue will offer a pan-Asian look at Buddhism; the middle gallery will feature works from South Asia highlighting Hindu gods; and the easternmost gallery will include Hindu and Buddhist works from Southeast Asia, as well as Thai and Vietnamese ceramics. The objects in Alsdorf will be arranged in a pattern that Grassi calls a “double helix,” which echoes the circular motifs found in many of the objects on display. Grassi says that although this design element may not be immediately apparent to people walking through the galleries, the way the objects have been placed “will influence the way that you navigate” the space and move around them. One of Grassi’s favorite aspects of the redesign is that the large seated Buddha in the westernmost gallery of Alsdorf now directly faces the Buddha in Gallery 101, near the Grand Staircase. “Now they’re staring at one another. So the big Buddha’s meditating in the direction of the large Chinese Buddha, and I just really love that relationship.” As you can see, redesigning a gallery space takes a great deal of planning, research, and ingenuity. Be sure to swing by the newly redesigned Alsdorf Galleries starting April 7—and see how your experience of these impressive objects is likewise transformed. Explore the works in our collection and delve deeper into their stories. Join us for a wide range of programs—there's something for visitors of all ages. the French artist Marie Laurencin cut off her long plaited hair and posted it to her former lover It was an artistic as well as a personal sacrifice: interlacing serpentine lines are a recurring motif in Laurencin’s work she rhymes the twisted coil of her braid with the unfolding pleats of a fan and the sloping curves of shoulder Pablo Picasso and Jean Metzinger had both painted several pictures of women with fans in the preceding years as if to say ‘I am a Cubist motif.’ The war – and the severed plait – marked Laurencin’s break with Apollinaire In 1908 and 1909 she had painted herself as part of the gang which included Gertrude Stein and Fernande Olivier Laurencin stands head and shoulders above Picasso her flouncy blue dress distracts from the rest of the group This painting shows five women and three men but it is the men who are usually remembered Russian Cubists such as Natalia Goncharova and Lyubov Popova have received more attention but the exhibition of Laurencin’s work at the Barnes Foundation in Philadelphia Marie Laurencin: Sapphic Paris (until 21 January) where the founder of a taxi company collected more than five hundred of her paintings and established a museum in her honour (it closed in 2019) have not yet brought her out of the shadows features familiar Cubist elements – a cup and saucer on a table quavering planes and incongruous scales – in a less familiar palette of pink The zigzag that buttresses these forms and the thick outline curving around the table dissolve into a pink and black fringe across the bottom of the canvas which itself fades into the shadow of the table – the only acknowledgment of three-dimensional space The juxtaposition of the word ‘alcools’ and a woman’s portrait suggests the woman-in-a-drinking-establishment genre of modern French painting Alcools was Laurencin’s response to a collection of Apollinaire’s poems the same year as his book of essays on modern art which included a piece on Laurencin as well as nine essays on male painters But the Laurencin essay is less a survey of her work than a patchwork of paragraphs on Picasso Henri Rousseau and the Renaissance artist Sofonisba Anguissola with only a handful of sentences on ‘the entirely feminine aesthetic’ of the modern ‘paintress’ ‘dances like Salomé’ between Picasso and Rousseau with Picasso as art’s ‘new John the Baptist’ and Rousseau a ‘sentimental Herod’ ‘Before the Dressing Table’ (1912) Bridget Alsdorf wrote about the Valadon show in the LRB of 10 March 2022. More by this contributorHopscotch on a Mondrian: Florine Stettheimer’s WitBridget Alsdorf03 November 2022 Find out more about the London Review of Books app Newsletter Preferences This site requires the use of Javascript to provide the best possible experience. Please change your browser settings to allow Javascript content to run. Stettheimer’s poems, which Ettie published posthumously, have a similar edge. She heckles ‘men painters’ for their reliance on female models: ‘must one have models forever/nude ones/draped ones/costumed ones.’ ‘To a Gentleman Friend’ begins: ‘You fooled me you little floating worm.’ An apostrophe to men describes the feminine burden, but it can also be read as an artist’s statement: You are the steady rainThe looked-forsThe must-bes …We turn rainInto diamond fringesBlack cloudsInto pink tulle. But where did she actually stand? One of her poems describes museums as private clubs she has no wish to join: ‘In the Mus-e-um/The Directors drink Rum/For Art is dumb/In the Mus-e-um.’ She had a point, of course, but it is an odd criticism from someone who presented her work at house parties. Did she think her art (or anyone’s) could go straight from the studio to the Met? More by this contributorAt the Barnes: On Marie LaurencinBridget Alsdorf25 January 2024 This site requires the use of Javascript to provide the best possible experience Please change your browser settings to allow Javascript content to run Type IV tank manufacturer NPROXX (Heerlen Netherlands) has completed a move of its operations to significantly larger premises at Alsdorf The relocation is designed to support the hydrogen storage specialist’s major growth ambitions “We have about 10,000 square meters in our facility now” explains managing director Klaus-Peter Kopper “We have effectively tripled our size and capacity.” the new facility gives NPROXX the space and capability to boost its production rates of hydrogen storage tanks and tank systems even further thanks to improved efficiencies and new machinery “We could in theory grow to five times our current production to over 30,000 tanks a year” adds Kopper highlights the much-improved production layout in the new plant “It’s more streamlined and more like an automotive plant” he says “Now that our design teams are closer to the shop floor to ensure we deliver to customer needs more effectively.” The expansion could open new commercial opportunities in 2024 for the manufacturer Now that NPROXX can handle significantly bigger orders “we can deliver a storage system much faster than before and our process stability improvements have already started to bear fruit with increased quality and reduced scrap rates,” says CTO Dietmar Müller The company has also invested in automation from robotic handling systems to automated winding and curing equipment in-house system assembly abilities enable NPROXX to achieve integrated tank supply.  the production of larger and more complex hydrogen tanks and systems is an NPROXX specialty, additionally enhanced by the move to the new facility “Our competitors focus on smaller vessels for automotive use,” says Müller “We are very good at producing big tanks and systems for challenging situations we are currently looking at 6-meter-long tanks systems for train and truck applications.” NPROXX is also progressing toward compliance with the latest R134 pressure vessel standards The tough requirements of this certification demand significant design adaptations but Klein sees this as an opportunity “to get better and better.” And with strong market demand including licensing agreements in the U.S. and China on the horizon in 2024 NPROXX’s new facility provides the base for its ambitious expansion plans.  Type IV tank manufacturer NPROXX (Heerlen By <a href="https://www.artic.edu/authors/73/madhuvanti-ghose" rel="author">Madhuvanti Ghose</a> and <a href="https://www.artic.edu/authors/8/elizabeth-dudgeon" rel="author">Elizabeth Dudgeon</a> She readily shares her time and her knowledge with colleagues for herself and for others—she’ll put herself out there At one point in our conversation (we talked for over an hour she mentioned that giving has been a constant theme of her life I was thrilled to spend some time with her in the Alsdorf Galleries I hope you enjoy our conversation as much as I did Elizabeth Dudgeon: Let’s start at the beginning: tell me a bit about where you grew up.Madhuvanti Ghose: I grew up in Calcutta which was the capital of the British Empire in India until New Delhi was built in the 20th century which is how it is pronounced in the Bengali language Kolkata has a uniquely colonial environment At the same time it’s still a very Indian city “Where did all the people go?” Even today when I come back from India I’m always exclaiming over not only the purity of the air but also the fact that there are so few people here by comparison Elizabeth: I remember feeling that way when I moved back from New York Madhu and Elizabeth in the Alsdorf Galleries and I wonder how that influenced your career choice Or was it not so obvious that you’d go into the arts it’s interesting because I was very rebellious all my life My poor mother had a really hard time with me We lost my sister and my father in quick succession when I was very young and so it was just the two of us for the greater part of our lives I saw these amazing pictures of the Festival of India in the US and changed my subject—I went off to study art and archeology in Britain I was going on and on about all the stuff that I’d studied and my mother was very quiet through it all Eventually I realized that her library had half of the books that I was talking about Madhu and her mother in the family tea estate in north Bengal Elizabeth: What did she think about you becoming a curator Madhu: She didn’t know about that; she passed away before I came to America But a professional career was not something she had ever considered for me It was just not done for girls in my family to go off to work Elizabeth: So how did you end up coming to the Art Institute working at the Ashmolean Museum and simultaneously teaching in London—just living this crazy And so I began regularly traveling to India to care for her Just then—this was in 2006—the Art Institute was looking for its inaugural Alsdorf Curator of Indian The museum had never had a permanent position in these areas before and even more tempting was that architect Renzo Piano and his team were going to be designing the galleries So I figured I would come for a couple of years and then go back to my actual life in Britain Elizabeth: This place served a similar purpose for me Actually it turns out I love curating so much more than teaching which I had assumed was going to be my life Elizabeth: So you became the museum’s first Alsdorf Curator—can you tell me a bit about your relationship with Marilynn Alsdorf Madhu with Marilynn Alsdorf and James Cuno at the 2008 opening of the Alsdorf Galleries Madhu: She was a really important figure in my life I was supposed to be flying to Chicago for my interview here when the call came that my mother had passed away By the time I finally arrived a few weeks later and she just extended her arms and gave me this warm hug Elizabeth: And you were still interviewing—you hadn’t been hired at that point Then right away she took me under her wing introducing me to people in Chicago and helping me acclimate There’s not a department that hasn’t been touched by them Just this year I was finally able to finish the process of accessioning the last of her promised gifts to my department Elizabeth: Do you have a favorite work in the collections you oversee Or is that like asking someone to choose among their children I watch people approaching that Ganesha without realizing they’re doing it And then you see the transformation happen as they walk towards him—suddenly they get animated this guy who’s stuffing his mouth with sweet meats and dancing It is truly one of the most remarkable objects in our collection because it is very rare and I always called Marilynn the Ganesha in my life She was the one who always removed all obstacles in my path let’s talk about some of the work you do with and in India Did it start here with the Vivekananda Memorial Program for Museum Excellence spoke at the inaugural session of the World Parliament of Religions here in the space that is now Fullerton Hall The government of India had wanted to commemorate him at the Art Institute for years and part of that was establishing a four-year training program for museum professionals from India in his name Art Institute staff with fellows from the 2012 Vivekananda Memorial Program for Museum Excellence From 2012 to 2016 we worked very closely with the Ministry of Culture and the directors of some of India’s most important museums to teach a carefully selected group of museum staff from across India all kinds of best practices from how we shape loan policies and execute acquisitions to preventive conservation and the like I recently completed a set of curatorial workshops training around 30 curators funded by the US Mission to India during the pandemic.Elizabeth: How different is museum culture in India There’s a group of people who are really passionately involved in trying to improve museums there Elizabeth: I know you’re also active with the artists of Nathdwara, whose practice was a major highlight of the exhibition Gates of the Lord: The Tradition of Krishna Paintings a few years back I was amazed that I didn’t see the artists’ work anymore in the shops in and around the temple These hereditary artists are members of the Pushtimarg and they make these beautiful hanging textiles called pichvais as well as miniature paintings I got to know the artists and their families and the wives were very proudly telling me “My son is studying—he’s going to be a doctor” or an engineer or in marketing this whole tradition is going to disappear.” Madhu: So I encouraged the artists to create their own organization and just recently a group of students from the Enactus group at Shri Ram College of Commerce in Delhi helped revamp their website so that people can commission work from the artists directly I do a lot of public lectures to draw focus to their work to help educate people about how unique Nathdwara and its artists are Elizabeth: You mentioned people getting animated when they see the Ganesha and I know you like to sit on a bench and watch visitors as they walk around the Alsdorf Galleries Tell me a little about why you do this and what you see Madhu with Eight Great Events from the Life of the Buddha Madhu: As America changes and we become more open to the whole world it’s so important that all cultures are able to learn about each other The reason I people-watch is that it helps me understand how visitors are engaging And I get to have these amazing insights into people as well I have changed the galleries a lot from 2008 to now and figuring out how best to present this collection is one of the challenges of being its first curator to leave things in such a way that the next person who comes along will have something solid to build upon what can visitors expect in the Alsdorf Galleries this summer Madhu: We’ll be featuring some exquisite jeweled objects from Nepal from the collection of Barbara and David Kipper And a presentation of beautiful kingfisher headdresses from the Kipper collection opened recently in Gallery 134 That’s why I don’t know where the last 15 years have gone Madhuvanti Ghose is the inaugural Alsdorf Associate Curator of Indian Arts of Asia. Since joining the museum in 2007 she opened the Alsdorf Galleries in 2008 and has curated numerous exhibitions and installations including Jitish Kallat’s site-specific Public Notice 3 (2010–11), Gates of the Lord: The Tradition of Krishna Paintings (2015–16), Vanishing Beauty: Asian Jewelry and Ritual Objects from the Barbara and David Kipper Collection (2016) From 2012 to 2016 she led the Vivekananda Memorial Program for Museum Excellence funded by the government of India and designed to foster professional exchange between the Art Institute and museums in India She served on the board of trustees of the American Association of Art Museum Curators from 2016 to 2021 Madhuvanti was a lecturer in South Asian Art and Archaeology at the School of Oriental and African Studies and a research fellow at the Ashmolean Museum She completed her doctoral dissertation at the University of London and has been honored with a 2013 Breaking Barriers Award from the Chicago Foundation for Women the 2014 Outstanding Community Service Award from the Vishwa Gujarati Samaj and a 2020 fellowship with the Center for Curatorial Leadership (CCL) A chance to design a gallery space with Renzo Piano turned into a long-term commitment for the museum’s first Alsdorf Curator Four writers select works from four continents in an exploration of the involuntary but essential act of taking in air We asked curator Madhuvanti Ghose to shed some light on one of the most popular works in our collection Tashae Smith gave a lecture titled “When Freedom Calls: The Alsdorf Family and the Underground Railroad.” The event was held at the Hudson River Maritime Museum where she is the Education Coordinator “Dubois Alsdorf… petitioned the Board of Education and they… gave this information to their committee of laws… and they voted six to two to discontinue the Colored School [in 1873] and allow all of the African American children to attend the all-white Grammar School [#1],” said Smith “He goes on to petition again for his [three] children to attend the prestigious [all-white] Newburgh Academy The lecture also covered other people in Newburgh who were involved in the Underground Railroad or in the abolition of slavery I used to watch the History Channel for fun… Going into school like high school and elementary… African-American history… tends to be on a much broader scale I knew I wanted to do my hometown of Newburgh New York and I wanted to go in the angle of slavery and see like what was happening in individuals… But I found much more information on the Alsdorf family and on the Colored School,” said Smith who recently graduated from Manhattanville College where she majored in History and minored in Museum Studies you can still go on the self-guided African American walking tour in Newburgh titled “In Washington’s Shadow” which shares places discussed in Smith’s lecture including the Alsdorf House which was a stop on the Underground Railroad Alsdorf Hall which was once the music and dancing academy The AME Zion Church which was the first African American church in Newburgh is located at https://spts.us and is designed to be used with mobile phones “The city… [was] very big in helping me to get the signage to get the permission to put the signs up,” said Smith who worked with the Barnabas McHenry Fellowship for Historic Preservation and Sound & Story of the Hudson Valley This is the first time having Winter Lectures at the Hudson River Maritime Museum “To have a nice capacity crowd at a time when its unusual is very heartening,” said Carla Lesh “We’re thrilled to be able to interpret all kinds of aspects of history.” Journalist Ms. Jones on Facebook This website is using a security service to protect itself from online attacks. 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Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page. ‘The Ark Passes Over the Jordan’ (c.1900) Please enable JS and disable any ad blocker Faculty of Fine Arts Studio Arts (MFA) Alsdorf’s work examines the tension between physicality and spirituality as these manifest in the temporal realm her artistic practice is an extension of her education in these areas craft and fine art media to mimic high ideals with both informed and laughable effort and art historical themes serve as vessels for puns where medium and context come together fortuitously Her interest in kitsch and the trite are revisited to unveil their prophetic potential within the mundane This is presented through the ironic and sincere handling of material and subject Alsdorf’s role in the work is to simultaneously be the Cynic and the Naive; presenting unequal measures of pragmatic and romantic sensibilities 1993) is a multi-disciplinary artist and house painter She is an alumna of SUNY Adirondack and North Country Community College as well as having studied Northern Renaissance art history at the University of Vermont Alsdorf painted abroad at Savannah College of Art and Design’s satellite campus in Lacoste and graduated with her B.F.A in painting from SCAD in 2019 Her work has been included in group exhibitions through out Upstate New York Society is in the midst of an epic sleep deprivation crisis and some of the most affected people are teenagers Because of this, in recent decades researchers in the US and around the world have been investigating the potential benefits of starting the school day later. While initial results are promising it's still only early days for this field of research overall given the limited number (and nature) of experiments conducted so far most studies in this area have looked at the effects of making a static change in school start time (starting all classes for a group of students an hour later But what happens if you give kids a say in the matter letting them choose what time they begin classes in the morning That's what one high school in Germany did. Alsdorf high school (Gymnasium Alsdorf) in western Germany won an award for innovative teaching methods in 2013, and practises an educational system called the Dalton Plan The Dalton Plan calls for flexible teaching methods, tailored to students at a personal level, and helping children to learn at their own pace. Schools across the world use these principles, and for chronobiology researchers at Ludwig Maximilian University of Munich Alsdorf high school provided a unique chance to study how the system might be able to benefit sleep-deprived teenagers "We had the opportunity to study the effects of later school starting times when a high school in Germany decided to introduce flexible start times for their senior students," the team, led by chronobiologist Till Roenneberg, explains in their paper the senior students could decide whether to start at 8:00 am or at 8:50 am (referred to as '9 am' herein for convenience) on a daily basis by attending or skipping the first period (a self-study period)." the researchers attempted to measure the effects of the system change on students in the 10th While students in earlier grades still had to turn up for school at the standard time of 8 am the older students were given the option of starting the day approximately one hour later for classes in which case they had to make up the missed period (a self-study period) later in the week For the nine weeks (three prior to the system being introduced the researchers collected daily sleep diaries from the senior students taking part in the experiment as well as collecting movement data from wrist-worn sleep monitor devices used by some of the students What the researchers found is that giving the students the ability to postpone their starting time even by only one hour gave them beneficial extra sleep time "In our study, virtually all participating students (97 percent) benefited from later start times, sleeping longer on schooldays with a ≥9 am-start – on average students gained one hour of sleep on those days," the authors write not only was the overall benefit universal but also the magnitude of the benefit was similar across the important factors chronotype because even though it may seem obvious that students electing to attend school one hour later would get one hour more sleep it's also thought that later school times can encourage students to stay up later at night before school with students on average sleeping 1.1 hours longer than they normally did on mornings where they attended classes later increasing from 6.9 hours of sleep on average to 8 hours of sleep "One of the greatest concerns regarding later school starts is that teenagers might be tempted to stay up even later in the evening either consciously or via delayed circadian rhythms from later exposure to advancing morning light," the authors explain there was no evidence that sleep onset times differed between ≥9 am-days and 8 am-days." What did surprise the researchers was how little the students opted to take advantage of the late start the students only chose to start late 39 percent of the time roughly two days out of five in terms of a regular school week they rated themselves as enjoying higher-quality sleep and survey responses at the end of the experiment suggested they felt less tired and felt an improved ability to study at home after school as well which may have been non-declared or under-reported – limitations that the researchers acknowledge there are obviously some hugely important takeaways from the experiment which suggest students like being given the choice of when they start school in the morning (in addition to simply getting more shut-eye) "On days with a later start, students have the opportunity to sleep longer. This should reduce the accumulation of sleep debt during the week," the authors conclude especially important for practical applications students prefer the flexible system and their subjective parameters are improved." The findings are reported in Sleep Four Princeton University faculty members have been named recipients of the Graduate Mentoring Awards by the McGraw Center for Teaching and Learning and will be honored during the Graduate School’s Hooding ceremony Monday The mentoring award recognizes Princeton faculty members who nurture the intellectual, professional and personal growth of their graduate students. Graduate students nominate faculty members for the award and, together with faculty members, serve on the committee that selects the winners. The award honors faculty in each academic division (engineering, humanities, natural sciences and social sciences) and includes a $1,000 prize and a commemorative gift. ‘Woman Searching through a Cupboard’ (1901) A Joint Base Elmendorf-Richardson soldier is competing this week in the Pacific Army Reserve Best Warrior Competition in Hawaii The week-long competition began Saturday and will end with the awards ceremony Thursday Download Audio The past week has been exhausting for Sergeant Daniel Alsdorf From before the sun rises until after it sets he and 10 other soldiers have been putting their entire military skill-set to the test....from land navigation the Hawaiian heat and humidity coupled with a simulated battlefield atmosphere haven't made the tests any easier "It's amazing when you get to a competition how some of the simple tasks become hard you add a little sleep deprivation and a little fatigue to that a 6.5 hour road march in Hawaiian conditions can be pretty intense especially coming from Alaska...these boys have a 30 degree temperature advantage on me," Alsdorf said Despite the difference in climate between Hawaii and Alaska he says he's feeling pretty good about the competition so far and he was able to put his life-saving skills to work during the combat casualty care exercise...where competitors had to take care of two injured soldiers and move them to a helicopter before time ran out...all while under simulated combat conditions you don't really know what's happening until you get around the next corner you know that there's someone in there bleeding and it's your job to get to them and save their lives before they lose all their blood,” Alsdorf said Even though the two "casualties" are mannequins Alsdorf says it doesn't stop the soldiers from doing all they can to save them "You have to sort of think on your feet...make sure you're running through your fundamentals like: are they breathing Can we stop the bright red stuff from coming out of their body All those things are a lot harder than it sounds whenever you've got 50 caliber rounds blasting over your head...it's pretty exciting," Alsdorf said Competitors won't know where exactly they stand in the competition until Thursday at the awards ceremony Army Reserve Command's Best Warrior Competition in Fort McCoy NEWBURGH – The Pulitzer-Prize winning book The Underground Railroad by Colson Whitehead is the Orange Library Association (OLA) OrangeREADS selection for 2017 The Newburgh Free Library will celebrate with a special program “When Freedom Calls: The History of the Alsdorf Family and the Underground Railroad” On Mon. Speaker Tashae Smith will focus on the Alsdorf family one of the most prominent African-American families in Newburgh in the 19th and 20th centuries Smith was awarded the 2015 Open Space Institute’s Barnabas McHenry Hudson Valley Award for historical preservation researching the history of slavery in her hometown of Newburgh She will start her talk with information about Newburgh’s George Alsdorf who was a slave until he was freed in 1827 Along with the Alsdorf Family’s contribution to the Underground Railroad other key Newburgh individuals will be discussed including those who supported the Underground Railroad or were involved in the fight to abolish slavery The Underground Railroad will be featured in the Scholar’s Pick Book Discussion a teenage slave who runs away from a Georgia cotton plantation with a literate new arrival named Caesar They board the Underground Railroad together Books for the book discussion are now available for checkout at the Main Library The OrangeREADS 2017 will culminate in an Author Talk on Sat. Colson Whitehead will be joined in conversation by Gerald Howard the 2017 Andrew Carnegie Medal for Fiction Each OLA library has a limited number of tickets for this event ALLENDALE — The Allendale Ambulance Corps turned 80 in 2017 and two of its longest serving members have been along for the ride the majority of the time John Alsdorf and Ethel Tellefsen have more than 100 years of experience between them on the volunteer crew has been with the corps for nearly 60 years as the member with the longest service was the group’s first female member when she joined around 1969 While the duo does not actively ride on the ambulance on calls anymore “If I could get them back riding I’d do it in a heartbeat,” Ambulance Corps Capt Since nearly the beginningAlsdorf came from a family of firefighters His father and three brothers spent time with the fire department he joined the ambulance corps after serving in the Marines A friend asked him to join and help out while they searched for more members “But we never got enough new members so I stayed in 57 years now,” Alsdorf said five grandchildren and four great-grandchildren Alsdorf was honored numerous times for his decades of service in Allendale including the building on Arcadia Road being dedicated to him.  “They surprised me at an installation dinner,” he said I say 'What the heck is that?' They took the cover off and the building was dedicated to me which I thought was very nice for all the time you put into the ambulance corps.” He is a past captain and president with the corps.  Though he doesn’t go out on calls anymore Alsdorf said he helps keep the building clean and ready for his fellow volunteers He usually visits a few times per week and D’Amore-Bottaro said he was also instrumental in cooking for their annual St “We’d have more corned beef and cabbage than anybody could eat,” she said moved to Allendale 56 years ago after growing up in Fort Lee was a member of the ambulance corps when she decided to join him in 1969 a decision no other woman had made up to that point “It’s something I always wanted to do,” she said “It was different,” Tellefsen said of her early days D’Amore-Bottaro estimated there are now more women than men among the 48 members started another trend by creating the youth squad program in the 1970s The initiative brings in teens to learn basic medical training from experts Through it all Alsdorf and Tellefsen learned to lean on each other They each had family members join the corps but forged a bond with one another as well “He’s been wonderful to work with,” said Tellefsen who also worked as a police dispatcher in Allendale for 22 years Alsdorf had a similarly positive experience with Tellefsen “She was very involved,” he said “and caring for the patients that we had.” Two Hudson Valley men were arrested by State Police and charged with Grand Larceny in the fourth degree of Monroe were arrested for Grand Larceny in the fourth degree stole several times from the store over the course of three weeks According to a Press Release four separate transactions were made from February 7th thru February 24th where Alsdorf would scan items at the register that Devito wanted to purchase The items were either not paid for by Devito or the sticker price was changed to a lower price at the cash register The total cash value of the items stolen was $1,733.92 Both men were issued tickets to appear in court at a later date Two Hudson Valley men were arrested by State Police and charged with Grand Larceny in the fourth degree.\nRead More According to a Press Release In the spring course “Self and Society,” Bridget Alsdorf associate professor of art and archaeology discusses work by Paul Cézanne at the Metropolitan Museum of Art in New York City What can molecular biology majors learn from Manet Can Cézanne change the way English graduate students and undergraduate engineers approach their fields This year, Bridget Alsdorf, associate professor of art and archaeology, taught two courses on 19th-century French painting: “Painting and Literature in 19th-Century France and England,” co-taught with Deborah Nord the Woodrow Wilson Professor of Literature and “Self and Society in 19th-Century French Painting.” While students in both courses examined paintings of the past the courses’ interdisciplinary approach to art history helped students from a variety of academic backgrounds gain a better understanding of 19th-century art and its application to their lives today Senior SuMin Park gives a presentation on a Cézanne portrait has long been fascinated with the period’s French and Victorian novels And while she wanted to teach a course that put the two in conversation she also wanted a literature expert on board to do the material justice “[Nord’s] deep knowledge of Victorian literature coupled with her strong interest in visual art made her an ideal collaborator,” said Alsdorf “I was absolutely delighted when she said yes.” who is working on a project about the relationship between 19th-century British fiction and visual arts was equally enthused about the collaboration “I have enjoyed co-teaching immensely over my 30 years at Princeton and I very much admire [Alsdorf] as a scholar and colleague; I knew that I would learn a tremendous amount from teaching with her.”  In the fall 2018 graduate seminar “Painting and Literature,” students studied paintings inspired by literature and painters and paintings as protagonists in novels and short stories the 19th-century novel in particular lends itself to this kind of interdisciplinary study: “[The novel] encompasses the whole world of our experience as social and psychological beings enjoy and interpret novels without thinking in any depth about many of these things but in my experience it enhances our understanding of the great achievement of the 19th-century novel to think about it from these different perspectives and Alsdorf maintains a similar view of art history: “Art history is interdisciplinary by nature because art intersects with so many aspects of culture and the natural world — politics These intersections present themselves not only in an artwork’s subject matter and form This past May, Alsdorf received a Graduate Mentoring Award in recognition of her work in nurturing the intellectual professional and personal growth of graduate students the Woodrow Wilson Professor of Literature, discusses the relationship between Edgar Degas’ painting “Interior” and Thomas Hardy’s novel “Tess of the D’Urbervilles” at the Philadelphia Museum of Art The paintings’ lives in the world — and their many intersections — was a core theme in Alsdorf’s spring 2019 “Self and Society in 19th-Century French Painting” course which investigated how the rise of modern individualism manifested itself in French painting while also attending to the ways artists resisted isolation and narcissism in their work are remarkably similar to the social and philosophical problems we are confronted with today a junior majoring in operations research and financial engineering said: “I didn’t expect the class to have so many relevant ties to today The same questions that these painters were grappling with — questions about the relationship between themselves and their colleagues communities and the world — are ones we also try to solve The topic of posing and constructing a filtered image of oneself is especially applicable to the prevalence of social media.” The relevance of these themes is perhaps one reason “Self and Society,” a course cross-listed in art and archeology and French appealed to students across a range of majors “I took [Self and Society] because it sounded interesting and a little outside of my comfort zone,” said Xie “I wasn’t the only student from a STEM background and Professor Alsdorf was very supportive of that; our seminar was filled with interesting and engaging discussions from a variety of viewpoints.”  come away with a newfound appreciation for art history I found [the course] challenging but also really exciting I am trained to look at data and think critically about it; art history requires the same sort of attention to detail but it’s far more difficult to substantiate any claim you make.” She added: “Many of our readings drew from knowledge of gender studies sociology and literature as part of their arguments [The course] helped me see how rich art history is as a discipline.” Alsdorf enjoys the engaging conversation around Cézanne's portrait “Madame Cézanne  in the Conservatory.” Both courses took advantage of Princeton’s proximity to New York and Philadelphia with excursions to the Metropolitan Museum of Art and the Philadelphia Museum of Art where students could see some of the paintings they read about and discussed in class “There is no comparison between digital images scale and material presence — has an electric effect on group discussion and we always discover details in person that we wouldn’t have noticed or appreciated on a screen.” a graduate student in the Department of English were struck by the sheer size of some paintings “Words and pictures in books cannot do [Eugène Delacroix’s paintings] justice,” he said “Without standing in front of the paintings it is difficult to get a sense of their size or what they do to viewers; some paintings are massive in real life!” said Akrish Adhikari a graduate student in the Department of French and Italian “This can fundamentally alter how we study a painting.” appreciated some of the less-tangible aspects of seeing a painting in real life: “Seeing a painting live — in front of you — adds a sense of concreteness in that you’re able to discuss and analyze a tangible document — a document that was touched by the artist themselves another advantage of seeing art in museums is that the setting inspires discussion “The students are so energized and focused when they’re in front of the objects … the atmosphere of respect and discovery that an artwork’s presence can foster is pretty extraordinary,” said Alsdorf I didn’t fully understand the value of seeing art in person rather than only through a digital image,” said Xie “Going to the Met helped deepen the insights and discussions we had in class; we were able to see details of paintings that we hadn’t seen before and experience the paintings in a different way.”