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In Memoriam: Professor Emeritus J. Richard Judson

July 20, 2020

J. Richard Judson (William R. Kenan Junior Professor 1974-1993) passed away on June 29, 2020. His former student Jane Carroll (PhD from UNC-Chapel Hill) wrote the below obituary for the Historians of Netherlandish Art. Condolences can be sent to Carolyn (Callie) Judson, 67 Cummings Rd., Hanover, NH 03755.

J. Richard Judson
(July 5, 1925-June 29, 2020)

I first met J. Richard Judson as I sat in a darkened classroom at Smith College. I was seeing art in a new way as Jud led us through a painting. I will talk about his scholarship and disciplinary contributions, but I want to start with a fact that is rarely mentioned—he was an extraordinary teacher. Jud believed in the primacy of the object. Art could be enhanced by cultural information, but the object itself had things to tell. And you could only have that dialogue if you took the time to look deeply at the artwork. He came to class laden with carousels of slides that would move you through a work, detail by detail, as he asked you to draw conclusions. He allowed the art to have a voice and taught us to listen to it.

Jud grew up in New York City, attending Horace Mann School. Upon graduating high school he enlisted with the United States Naval Reserve, serving with them during World War II. Afterward, he enrolled in Oberlin College where he had the good fortune to study under Wolfgang Stechow. They formed a connection and, following Stechow’s retirement, Jud invited him to Smith in 1969 as the William Allan Nielson Chair of Research. In 1953 Jud earned a M.A. from the Institute of Fine Arts at NYU. While at the Institute, he was taught by other foundational art historians such as Craig Hugh Smyth, Walter Friedlaender, and Erwin Panofsky, who served as a Visiting Professor from Princeton. It was also at this time that he met and married Carolyn French Judson. They honeymooned in Brussels, as he liked to say, on the dime of a Belgian-American Educational Foundation grant.

For his Ph.D. in 1956, Jud went to the University of Utrecht to study with scholars of Golden Age Dutch art such as J. G. van Gelder. When choosing a subject for his dissertation, he was asked to select either Hendrick ter Brugghen or Gerard van Honthorst. He told me that he chose Honthorst on the strength of a single painting, the Christ before the High Priest in London, only later to wish he had chosen the other artist. But Honthorst would be the subject of his first book (1959) and of the last volume he wrote, a revision of that early work, with Rudolf E. O. Ekkart discussing the portraits (1999).

His writings were numerous, focusing primarily on sixteenth- and seventeenth-century art from the Low Countries. Jud consistently found riches in the lesser-explored areas of his field, causing scholars to study Northern art more broadly. Notable among his books was Dirck Barendsz. 1534-1592: Excellent Painter from Amsterdam (1970) in which Jud studied the second half of the sixteenth century through the lens of a Dutch artist with ties to Venice. The volume explored the connections that influenced both art and the wider culture. Three years later, in The Drawings of Jacob de Gheyn II, he brought to our attention the superb draughtsmanship of that artist while illuminating Jacob’s output as evidence of contemporary Humanist intellectual trends. Jud’s first volume for the Corpus Rubenianum was Book Illustrations and Title-pages (1978). The richness of that topic, Rubens’ literary visual language, resulted in an exhibition at the Museum Plantin-Moretus in Antwerp, P. P. Rubens als boekillustrator (1977). His second work for that series, The Passion of Christ (2000), explored Rubens’ balance of tradition and innovation in a Post-Tridentine religious world. Between the two Rubens volumes, Jud was part of the team that created the landmark exhibition The Age of Brueghel: Netherlandish Drawings in the Sixteenth Century (1987). With John Oliver Hand, William W. Robinson, and Martha Wolf, Jud created the exquisite catalogue and sensitive scholarship that elevated the study of Northern drawings.

Jud’s scholarship earned him multiple fellowships from Fulbright, Guggenheim, and ACLS, as well as invitations from the American Academy in Rome and the Netherlands Institute for Advanced Studies in Wassenaar. In 1977 he was the recipient of the Rubens medal given by the City of Antwerp.

During the course of a long academic career, Jud taught at two institutions: Smith College for eighteen years, and as the W. R. Kenan Junior Professor at the University of North Carolina at Chapel Hill for nineteen years. With Seymour Slive, Jud was a member of that first generation of American-born scholars who worked on Dutch art. They set out the path for those who have followed.

Once retired, Callie and Jud returned to New England, though they remained loyal to North Carolina basketball. Desiring to be near an academic library, they moved to Etna, New Hampshire, near Dartmouth College and then to the retirement community of Kendal at Hanover. Aside from art and family, Jud’s other passion was sailing, both racing and cruising up the New England coast. He was a member of the Catboat Association, the Wharf Rat Club, and the Nantucket Yacht Club. On Nantucket, he and Callie had a home on what seems to be the perfect name for a road, Easy Street. There they summered for decades with their four children and grandchildren. On Jud’s desk at UNC there were no photos of his family, just a single photo of his boat riding the waves.

Associate Professor Hồng-Ân Trương Video Piece On View at Block2 Gallery in Raleigh

March 6, 2020

4 single-channel videos, black and white with sound, 21 minutes.
Hồng-Ân Trương

Jan. 31 – March 22, 2020
On display every night from sundown to 3 a.m. and each First Friday

Exploring the history of French and American colonialism in Vietnam, these videos use found historical footage – all shot on or before 1954, the year that marked the end of French occupation but the beginning of U.S. involvement – to consider postcolonial subjectivity and nostalgia, and the uneasy division between the “mythic” and the “real” past. Playing with the notion that nostalgia can be evoked without memory or experience (but through the experience of images and the imaginary landscape of images), the videos suggest the co-dependent relationship between the West’s present and the Other’s desire for that present-modernity.

The archive is approached through the double, where colonial sound and scenes are mirrored against each other, split, and repeated. Bifurcated screens and juxtaposition become simple techniques whereby the “real” and by extension, its historical referent, are permanently deferred objects, further diminished through the overdubbed narratives in Vietnamese or French.  Much of the footage suggests the impact of Catholicism, which, unlike the vestiges of colonialism left on the Vietnamese social landscape in the form of architecture, cuisine, and street names, instead marks the body: a transcendent and mystical stain made corporeal. The historical trace asks: What happens when the Other becomes a specter from within?

For address and more info:

Faculty Joy Drury Cox Solo Exhibition at Asphodel in New York City

March 2, 2020

Joy Drury Cox

Prone and Plumb
Brooklyn, NY
March 5th – April 18th

Opening Reception: Thursday, March 5th
6 – 9 pm

Asphodel presents PRONE AND PLUMB, an exhibition of new graphic works by JOY DRURY COX, opening on Thursday, March 5 and on view through Saturday, April 18.

Please join us for the artist reception on Thursday, March 5 from 6 to 9 pm.

Prone carries the weight of physical pain—immovable, exhausted—often following a substantial expression of energy. Plumb, on the other hand, is upright, energetic—though ultimately enervating. In three new series of drawings, Joy Drury Cox represents this pair of semantic antipodes as palindromic conceptual drawings, exercising what the artist terms “line dialectics.” Cox’s interdisciplinary artistic practice includes drawing, artist’s books, texts, and photography. Her works consider mapping, making, measuring, and marking and their variables roles in the politics of labor and the structures of everyday life.

Joy Drury Cox was born in Atlanta, Georgia, in 1978 and received a BA in English from Emory University and an MFA from the School of Art and Art History at the University of Florida. She has exhibited nationally and internationally since 2003 and is the author of three artist’s books: STRANGER, OLD MAN AND SEA, and OR, SOME OF THE WHALE. Most recently, Cox co-authored a photography book with her partner, Ben Alper, titled COMPOUND FRACTURES featuring photographs of caves taken in the Southeastern United States. Her works are included in private and public collections, including the New York Public Library and the Museum of Modern Art in New York. Cox is currently a Teaching Assistant Professor in the Art and Art History Department at UNC-Chapel Hill.

For more information on the artist, please visit

20 Jay Street
Suite 837 (eighth floor)
Brooklyn, New York
11201 US

Wednesday → Friday
12 → 6 pm
& by appointment

ASPHODEL is an art gallery and project space co-founded by Lisa Kahlden and Jason Loeffler in 2017. Previous one-person exhibitions include Nicholas Szymanski, Notes to Diane; Amy Vogel, fear-of-nature-of-fear; Vanha Lam, Variables; Clary Stolte, Nobody Knows; Jeff Kraus, My Bunny the Snake; Karl Burkheimer, aline; Heidi Schwegler, Zoonosis; and Anastasia Komarova, Material Control.

Asphodel gratefully acknowledges Anthology of Recorded Music, Inc. (ARM) for providing logistical and operational support for its 2020 exhibition series. Operating continuously since 1974, ARM’s imprints include New World Records, the Database of Recorded American Music, and Sound American. Recent releases include Kate Soper, Ipsa Dixit; Julius Eastman, The Zürich Concert; Christian Wolff, 2 Orchestra Pieces; and James Tenney, Changes: 64 Studies for Six Harps.

Associate Professor Sabine Gruffat part of Process Series 19th Amendment Project

February 7, 2020

February 27 and 28, CURRENT ArtSpace, 7:30 pm

The Process Series presents the 19th Amendment Project in collaboration with Arts Everywhere and the Institute for the Arts and Humanities. UNC faculty-artists create interdisciplinary performance centered around the 100th Anniversary of the 19th Amendment, exploring women in politics.

Four projects were chosen to be presented in this shared program and will go on to launch a new faculty performance series in 2020-2021.

The Debate – Heather Tatreau (Department of Exercise & Sport Science) & Tracy Bersley (Department of Dramatic Art) This dance-theater piece will use a series of duets and text to investigate how women in politics have been characterized over the past 100 years – from anti-suffragette propaganda to current female politicians portrayed as medusas in the media.

XIX – Jacqueline Lawton (Department of Dramatic Art)
This play exposes the racial divide of the 19th Amendment by following an interracial family where all the women were fighting for suffrage, but only half of them won the right to vote.

Sojourner Truth – LaToya Lain (Music Department)
This one-woman show, comprised of song and spoken narrative, explores the effects and aftermath of the passage of the 19th Amendment as told by one of the most famous black participants in women’s suffrage, Sojourner Truth.

#19 – Sabine Gruffat (Department of Art) & Bill Brown (Department of Communication)
This two-person, three-channel Live Cinema performance will incorporate original laser-etched 16mm film, a selection of
archival 16mm film loops, and an original electronic soundtrack in order to survey and contextualize the 19th Amendment and to explore the past and present struggles of women to achieve political empowerment.

Multiple shows featuring alumni and faculty opening at Oneoneone Gallery in Chapel Hill

September 6, 2019

Come see work by Alumni Leigh Suggs, Vanessa Murray, Jerstin Crosby, George Jenne, Lindsay Metivier, Alyssa Miserendino, and Louis Watts and studio faculty member Sabine Gruffat at OneOneOne Gallery in Greenbridge in Chapel Hill!

Oneoneone promotes the work of emerging and established contemporary artists in a dynamic gallery space.
Free parking – garage entrance from Merritt Mill Rd