Stephen D. Allee received his BA in Chinese language and literature from George Washington University. Stephen was among the first eight graduate students from the United States to study in the People's Republic of China, attending the University of Nanjing from 1979 to 1980. After receiving his PhD candidacy (1983) and master’s degree in Chinese language and literature from the University of Washington (1986), Stephen joined the Freer and Sackler in 1988. Since then, he has curated or cocurated more than twenty-five exhibitions at the museums, and his research and translations have appeared in numerous exhibitions and publications including Challenging the Past: The Paintings of Chang Dai-chien (1991), In Pursuit of Heavenly Harmony: Paintings and Calligraphy by Bada Shanren from the Estate of Wang Fangyu and Sum Wai (2003), and, most recently, in the Song and Yuan Dynasty Painting and Calligraphy web resource (2010).
Louise Caldi earned her MA from Hunter College (CUNY), and went on to receive her PhD in Italian renaissance art history from Rutgers University. In graduate school Louise received the Camargo Foundation Fellowship for her studies. She has delivered papers at the Frick Collection in New York City, the Courtauld Institute in London, and the International Congress on Medieval Studies. Louise served as an intern at the Walters Art Museum and acted as a visiting assistant professor at the University of Connecticut, where she taught Italian art history. In addition, she served as a teacher-trainer for the National Endowment for the Humanities (NEH). Since joining the staff of the Freer and Sackler in 2004, Louise has assisted with the acquisition of the Pulverer Collection of Japanese Printed Books, and helped with the coordination of exhibitions and conferences. Presently, Louise serves as department administrator for both the Curatorial and Scholarly Programs and Publications departments and is head of the F|S team of curatorial assistants.
Louise Allison Cort is the author of Shigaraki, Potters’ Valley (1979, reprinted in 2000), A Basketmaker in Rural Japan (coauthored with Nakamura Kenji, 1995), and numerous scholarly articles. Louise’s research interests include historical and contemporary ceramics in Japan, Southeast Asia, and South Asia; Japanese baskets and textiles; and the Japanese tea ceremony. In 2008, she prepared (with George Ashley Williams IV and David P. Rehfuss) the online catalogue Ceramics in Mainland Southeast Asia: Collections in the Freer Gallery of Art and Arthur M. Sackler Gallery.Since 1989, Louise has worked with Leedom Lefferts in conducting long-term documentation of present-day village-based production of earthenware and stoneware ceramics in Mainland Southeast Asia, with support from the Nishida Memorial Foundation for Research in Asian Ceramic History and a Smithsonian Institution Scholarly Studies grant. Currently she is working on an online catalogue of the museums’ Korean ceramics collection, and is involved in an international research collaboration focusing on a recently acquired ceramic piece, the Chigusa tea jar.
Debra Diamond received her PhD in South Asian art history from Columbia University (2000) and has published numerous articles on Indian and contemporary Asian art. A specialist in Indian court painting, Debra curated Garden and Cosmos: Royal Painting of Jodhpur, which opened at the Arthur M. Sackler Gallery on October 11, 2008. The exhibition then traveled to the Seattle Asian Art Museum, the British Museum, and the Art Gallery of New South Wales. Debra has curated numerous exhibitions at the Sackler Gallery, including Facing East: Portraits from Asia (2006), Perspectives: Simryn Gill (2006), and Autofocus: Raghubir Singh's Way into India (2003). She is currently planning exhibitions on Mughal masterpieces in the Freer and Sackler collections (2012), the visual culture of yoga (Yoga: The Art of Transformation, 2013) and the Freer Gallery’s portrait of Mumtaz Mahal (2014). In 2010, Debra received the Smithsonian Secretary’s Research Prize for the Gardens and Cosmos: Royal Painting of Jodhpur exhibition catalogue.
Massumeh Farhad earned her PhD in Islamic art history from Harvard University. In 1995, Massumeh joined the Freer and Sackler as associate curator of Islamic art and, in 2004, was appointed chief curator and curator of Islamic art. With a focus on the arts of the book from sixteenth- and seventeenth-century Iran, Massumeh has curated numerous exhibitions on a range of subjects in Islamic art, including Art of the Persian Courts (1996), Fountains of Light: The Nuhad Es-Said Collection of Metalwork (2000), Style and Status: Imperial Costumes from Ottoman Turkey (2005–2006), Tsars and the East: Gifts from Turkey and Iran in the Moscow Kremlin (2009), and Falnama: The Book of Omens (2009). She has also written extensively on seventeenth-century Persian painting. Her publications include Slaves of the Shah: New Elites in Safavid Iran (2004) and Falnama: The Book of Omens (2009).
Maya Foo earned her BA in the history of art from the University of Washington, Seattle, where she focused on American art. In 2009, Maya received her MA in museum studies from George Washington University in Washington DC. As a graduate student, Maya interned in the curatorial department of the Smithsonian’s National Portrait Gallery; she went on to work for the museum, as well as the Smithsonian’s American Art Museum and National Museum of African American History and Culture. Maya contributed to the National Portrait Gallery’s 2009 exhibition catalogue Faces of the Frontier: Photographic Portraits from the American West, 1845–1924. Since joining the staff of the Freer and Sacker in 2010, she has helped research and will contribute to the exhibition One Life: Amelia Earhart, Aviatrix (June 2012, National Portrait Gallery), and cocurated Sweet Silent Thought: Whistler's Interiors, which opened in August at the Freer.
Lee Glazer has a PhD from the University of Pennsylvania and has lectured and published on a wide range of art historical topics, including nineteenth-century popular illustration and song, the artist Romare Bearden, and James McNeill Whistler and American aestheticism. She recently reinstalled the Peacock Room to its appearance in 1908, when its shelves were filled with Asian ceramics collected and arranged by museum founder Charles Lang Freer. Since coming to the Freer and Sackler in 2007, Dr. Glazer has organized a series of thematic installations including watercolors by Winslow Homer, seascapes by American artist Dwight Tryon and Japanese photographer Hiroshi Sugimoto, and nocturnes on paper by Whistler. She is the co-editor of James McNeill Whistler in Context (2008) and East West Interchanges in American Art (2012), and she is currently working with colleagues at Wayne State University on The Story of the Beautiful: Freer, Whistler and their Points of Contact (peacockroom.wayne.edu), an interactive web resource devoted to American art at the Freer.
Assistant Curator of Contemporary Asian Art
Please contact Weina Tray
In 2007, Carol Huh was appointed the first curator of contemporary art at the Freer and Sackler. Through exhibitions and public programs, she furthers the Galleries’ effort to present works that explore current social change and artistic production related to Asia, particularly photography and time-based media. Recent projects have included such exhibitions as the museum’s ongoing Perspectives series (featuring works by Y.Z. Kami, Hai Bo, and Hale Tenger, among others) and Fiona Tan: Rise and Fall (Vancouver Art Gallery), for which Carol was the in-house curator. Upcoming exhibitions will include works by Ai Weiwei and Jananne Al-Ani. Carol has a graduate degree from the communication, culture, and technology program at Georgetown University.
Originally from Germany, Alexander Nagel earned his PhD from the University of Michigan, Ann Arbor, with a focus on the art and archaeology of ancient Iran. His dissertation, completed in 2010, is titled Colors, Gilding and Painted Motifs in Persepolis: The Polychromy of Achaemenid Persian Architectural Sculpture, c. 520–330 BCE. Alex has helped organize numerous international conferences, including the landmark 2009 workshop The Color of Things: Debating the Current State and Future of Color in Archaeology at Stanford University. He has authored several articles on his research, and has lectured in Europe and the United States on polychromy and the archaeology of the ancient Near East. In 2009, he was the University of Michigan Freer Fellow in residence at the Freer and Sackler; in fall 2010, he joined the Freer|Sackler staff as assistant curator of ancient Near Eastern art. Alex’s first F|S exhibition, Ancient Iranian Ceramics, opened in July 2011.
Takako Sarai was trained in Japan as a traditional calligrapher of Japanese script. She is a master of old Japanese writing systems and reads and writes old phonetic scripts (hentaigana). After spending several years at the Freer and Sackler as a research assistant, Takako joined the museums’ curatorial staff in 2005. Since then, her translations from English to Japanese have been appeared in numerous exhibition catalogues and scholarly publications, including “Charles Lang Freer and his Hokusai Painting Collection” (Hokusai, Nikkei, 2005) and “Women in the Realms of Clay” (Soaring Voices, The Shigaraki Ceramic Cultural Park, 2007).
Mary SlusserResearch Associate
After receiving a doctorate in anthropology from Columbia University in New York City, Mary spent many years living and working abroad. She has spent a significant amount of time exploring the region of the Himalayas, including seven years in Nepal. In addition to Nepal Mandala: A Cultural Study of the Kathmandu Valley (1982) and her most recent publication, The Antiquity of Nepalese Woodcarving (with Paul Jett, 2010), Mary’s numerous writings include groundbreaking work on Nepalese metalcraft and stone sculptures.
Weina Tray joined the Freer and Sackler in 1998 as assistant to two curators of Chinese art. In 2000 and 2001, she contributed to the glossaries for the catalogues Music in the Age of Confucius and Worshiping the Ancestors: Chinese Commemorative Portraits. Weina uses the Freer|Sackler Library and other scholarly resources to locate and assemble materials that support curatorial research efforts. She received her associate degree from Zhejiang Teachers Institute and taught Chinese at a middle school from 1975 to 1982. In addition to her work at the Freer and Sackler, Weina has continued her teaching career, providing instruction in Chinese to Chinese-American students in the United States.
Dr. James Ulak is senior curator of Japanese art. After joining the F|S staff as curator of Japanese art in 1995, he served as deputy director (2003–2010) and head of collections and research and chief curator (2002–2003). A specialist in the history of narrative painting production in fourteenth- and fifteenth-century Japan, Jim received his PhD from Case Western Reserve University (Cleveland) in 1994. Before his arrival at the Freer and Sackler, he was a researcher at the Cleveland Museum of Art, associate curator of Asian art at Yale University Art Gallery, and associate curator of Japanese art at the Art Institute of Chicago. Jim has produced more than twenty exhibitions and has published on a wide range of topics in Japanese art including medieval Japanese narrative painting, eighteenth-century "eccentric" painters, and Japan's artistic encounters with modernity in the late nineteenth and early twentieth centuries. In 2010, he was inducted into the Japanese Order of the Rising Sun, an honor accorded by the Japanese government, for his outstanding contribution to the field of Japanese art.
Daisy Yiyou Wang
Dr. Daisy Yiyou Wang earned her PhD in 2007 from Ohio University. Daisy specializes in the history of collecting Chinese art in the United States, and has worked with major contemporary and traditional Chinese collections in nearly all media. She has contributed to a number of exhibitions and published internationally on art history and museology, including Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan (2011) at the Sackler Gallery; The Third Mind: American Artists Contemplating Asia, 1860–1989 (2009) at the Solomon R. Guggenheim Museum in New York City; Asian Journeys: Collecting Art in Post-War America (2009) at the Asia Society Museum in New York City; and Shanghai Biennale (2000–2008) at the Shanghai Art Museum. Working with more than twenty leading Chinese museums and fourteen Smithsonian museums and offices, Daisy received a 2011 Smithsonian Grand Challenges Award to foster further collaboration between the Smithsonian and China.
J. Keith Wilson
J. Keith Wilson completed his PhD coursework at Princeton University after receiving his MAs in Chinese art and archaeology from both the University of Michigan and Princeton University. After serving as a Mellon Fellow at the Metropolitan Museum of Art in New York City, he was appointed curator at the Cleveland Museum of Art and, later, the Los Angeles County Museum of Art. In 2006, Keith joined the curatorial staff at the Freer and Sackler. Although his primary field of expertise continues to be Chinese antiquities, he has researched and published broadly on a range of East Asian art historical topics, including Korean and Japanese art. He is currently planning the reinstallation of the Chinese exhibits in the Freer and Sackler, in addition to a major exhibition dedicated to art produced in the late Shang dynasty capital, Anyang.
Ann Yonemura received graduate training from Princeton University in the history of Japanese art. Since arriving at the Freer and Sackler, Ann has organized numerous exhibitions, including Ancient Japan (1992), Freer—A Taste for Japan (2006), and Hokusai (2006), a major international loan exhibition. Currently she is working on an exhibition, to open in 2012, of Hokusai's Thirty-Six Views of Mount Fuji for the Sackler Gallery. In addition, Ann is coordinating the research and digital photography of the Gerhard Pulverer collection of Japanese illustrated books as part of an online scholarly catalogue project supported by a grant from the Getty Foundation. Her publications on Japanese painting, lacquer, calligraphy, and prints include Masterful Illusions: Japanese Prints in the Anne van Biema Collection (2002) and a two-volume work, Hokusai, published in 2006.
Staff at the Freer and Sackler work closely with colleagues all around the world. Learn more about ongoing research collaborations.
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Learn more about current, future and past exhibitions at the Freer and Sackler, and explore interactive features based on past exhibitions. More info »