Arts And Humanities Essays Of Three Eras

Bowdoin’s interdisciplinary Medieval and Early Modern Studies program bridges courses that range over 1400 years of European history, from the Roman Emperor Constantine’s conversion to Christianity in 337 to the French Revolution in 1789.  Europe transformed during this time from a forgettable backwater of the Roman Empire to a global power. With participating faculty from more than a dozen majors and programs, including Art History, English, Asian Studies, History, Italian, French, Spanish, and Classics, MEMS enhances students’ intellectual lives by highlighting related courses.  In the process, we offer students valuable opportunities to explore the history, religion, art and literature of a period that continues to influence contemporary culture.

Beginning in the spring of 2014, MEMS has offered interested students a three-semester cluster of courses on the theme of the history of science entitled “Science before Science.”  Classes in this cluster explore the ways that people thought about the natural and supernatural world before the emergence of modern disciplines of scientific inquiry.  Participating faculty examine relations between magic, science and religion from the first Greek philosophers to the enlightenment thinkers of the eighteenth century.  Over the duration of the cluster, students will have the opportunity to take at least one course each semester that shares the theme of “Science before Science” with at least two other courses.  Enrolled students will create new connections between disciplines and fields of study by sharing readings, lectures, and special events in common.  

Medieval and Early Modern Studies Courses offered for upcoming academic year:

Course Description by Discipline

Art History

Art History 213 The Art of Three Faiths: Christian, Jewish, and Islamic Art and Architecture, From the 3rd to the 12th Century
Fall 2013 (Prof. Morris)
2015-16 (Prof. Perkinson)
This course examines ways images, objects, and buildings shaped the experiences and expressed the beliefs of members of three major religious traditions (Christianity, Judaism, and Islam) in Europe and the Mediterranean region.  It deals with artworks spanning the 3rd century through the 12th century from Europe, the Middle East, North Africa, and the Byzantine Empire.  Many of the sessions will be thematic, dealing with issues that cut across geographic and chronological boundaries.  Topics examined include: the embrace or rejection of a classical artistic heritage; the sponsorship of religious art by powerful political figures; the use of images and architecture to define community, and to reject those defined as outsiders; forms of iconoclasm and criticism of the use of images among the three religions; theological justifications for the use of images; and the role of images in efforts to convert or conquer members of another faith.

Art History 214 The Gothic World
2014-15 (Prof. Perkinson)
This course examines art produced in Europe from the twelfth through the early fifteenth centuries.  We will investigate the key artistic monuments of this period in a variety of media, including architecture, painting, manuscript illumination, stained glass, sculpture, and the decorative arts.  The first half of the class is organized as a chronological and geographic survey, while the second half addresses issues that arise throughout the period.  While this class will be a mixture of lecture and discussion throughout the semester, our meetings in the second half will be particularly “seminar-like,” allowing us to discuss broad issues and themes drawn from readings and apply them to particular works of art.

Art History 226 Northern European Art
of the Fifteenth and Sixteenth Centuries
2014-15 (Prof. Perkinson)
This class offers students an in-depth introduction to works by the most important artists active in northern Europe during the fifteenth and sixteenth centuries, including Jan van Eyck, Hieronymus Bosch, Albrecht Dürer, Tilman Riemenschneider, Hans Holbein, and Pieter Bruegel. Many of the class meetings will include lectures on particular artists, cities, or issues that are crucial to an understanding of this field.  Several of our meetings will be largely devoted to group discussions, in which we will analyze a single work of art or discrete issue. For those discussion meetings, we will read several (often conflicting) scholarly interpretations of these works. This will provide us with useful overviews of these important objects and issues as well as many of the art historical methods that have been used in studying them (including formal analysis, iconography, and various “contextual” approaches, e.g. feminist scholarship, reception theory, etc.).

Art History 315: Art at the Late Medieval Courts
Prof. Steve Perkinson
In the fifteenth and sixteenth centuries, the aristocratic courts of Europe commissioned some of the most spectacular works of art ever created. Many of the artists who worked for those courts are well known: they include Jan Van Eyck, Andrea Mantegna, Hans Holbein, and Albrecht Dürer. Others are less familiar to us today, largely because they worked in media that don’t fit neatly into modern ideas about “high art” – media such as tapestry and metalwork, for instance. Those media were, however, among the most valued by their courtly patrons for their costly materials and for their for their dazzling appearance; the spectacular impression created by these objects was a crucial component of the courtly social system. Rulers built massive palaces whose walls were hung with tapestries, they commissioned sculptures and paintings to decorate their castles and chapels, they displayed their wealth with fashions and jewelry, and they purchased manuscripts whose illuminations projected a mythic vision of noble culture. We will explore the connections between art and political power in this period, tracing objects as they moved from the studios of their creators and passed through the hands of the individuals who exchanged them as gifts or amassed them in collections. We will also discuss how art defined social roles, dividing society into groups according to gender and class. In addition to reading a number of important art historical studies, we will also examine a handful of literary texts that can help us reconstruct the visual culture of the courts.  While we will cover a great deal of European geography in this class, we will focus our attention on the fifteenth-century court of Burgundy – arguably the “gold standard” for late medieval court culture. Each student will produce a final project that brings together a number of works produced in Burgundy, analyzing them according to the concerns and enthusiasms that we identify as characteristic of court culture.

Art History 316 Memory, Mourning, and the Macabre:
Visualizing Death in Late Medieval and Early Modern Europe
(Prof. Perkinson)
In pre-modern Europe, people lived in the shadow of death. This was true in literal terms – mortality rates were high – but also in terms of art: the imagery of the period was saturated with images of death, dying, and the afterlife. This course examines how images helped people confront profound questions about death: What happens to the “self” at death? What is the relationship between the body and the soul? What responsibilities do the living have to the dead? We will address these issues through tomb sculptures, monumental paintings of the Last Judgment, mural paintings depicting the encounter between “the Three Living and the Three Dead,” manuscripts containing accounts of journeys to the afterlife, printed manuals describing how to prepare for one’s death, public depictions of the “Dance of Death,” prayer beads featuring macabre imagery, and other related items.

Art History 224 {2240} Mannerism.
Fall 2013 (Prof. Wegner)
Mannerism in art and literature. Artists include Michelangelo, Pontormo, Rosso, Bronzino, El Greco. Themes include fantasy and imagination, ideal beauty (male and female), the erotic and grotesque, and the challenging of High Renaissance values. Readings include artists’ biographies, scientific writings on the senses, formulas for ideal beauty, and description o court life and manners. Uses the Bowdoin College Museum of Art’s collection of sixteenth-century drawings, prints and medals.

Art History 332c. Painting and Society in Spain: El Greco to Goya
(Prof. Wegner)
Focuses on painting in Spain from the fifteenth century to the early nineteenth century, with special emphasis on the works of El Greco, Velázquez, and Goya. Examines art in the light of Spanish society, particularly the institutions of the church and Spanish court. Considers Spanish mysticism, popular custom, and Enlightenment ideals as expressed in or critiqued by art. Readings in the Bible, Spanish folklore, artistic theory, and artists’ biographies.
Prerequisite: Art History 100 or 101, or permission of the instructor.

Art History 223 {2230} The Arts of Venice.
Spring 2014 (Prof. Wegner)
Venice is distinctive among Italian cities for its political structures, its geographical location, and its artistic production. This overview of Venetian art and architecture considers Venice’s relationships to Byzantium and the Turkish east; Venetian colorism in dialogue with Tuscan-Roman disegno; and the role of women as artists, as patrons, and as subjects of art. Includes art by the Bellini family, Giorgione, Titian, Veronese, Tintoretto, Tiepolo, Canaletto, and Rosalba Carriera, and the architecture of Palladio.


English 1047 Early European Representations of Islam
Fall 2013 (Prof. Solberg)
Introduces students to Islam in the medieval and early modern European imagination, covering a wide array of interdisciplinary sources: bitter religious polemic, eyewitness accounts of the Crusades, and fantastical travel narratives—written from both Christian and Muslim perspectives—as well as medieval and Renaissance European romances about Saracen knights and plays about Turkish tyrants. Texts include The Qur’an, Dante’s Inferno, The Song of Roland, The Travels of Sir John Mandeville, and William Percy’s Mahomet and His Heaven. 

English 2107 Introduction to Medieval British Literature
Fall 2013 / 200-level Lecture, Prof. Solberg
Introduces students to the literature of medieval Britain, excluding Chaucer. The course begins with the first poem ever written in English (or rather Old English), continues through tribal sagas (Beowulf, the Welsh Mabinogian, the Irish Tain) and Arthurian romances (the Lais of Marie de France, Sir Gawain and the Green Knight), and concludes with extensive coverage of the literature of the fifteenth century: mystical theology (The Showings of Julian of Norwich, The Cloud of Unknowing), gory martyrdoms (Christina the Astonishing, the York Passion Play), lyric poetry ranging from the numinous to the obscene (anonymous and by poets including Dunbar and Skelton), the global travel narrative of Sir John Mandeville, and tales of Robin Hood. Students will gain a very rudimentary ability to translate Old English as well as reading proficiency in Middle English.

English 2108  Medieval Drama
Spring 2014 (Prof. Solberg)
Knowledge of theater history tends to skip from the tragedies of Ancient Greece to Shakespeare’s Renaissance, the rebirth of the Classics, leaving the Middle Ages in dark obscurity. This course aims to illuminate the underappreciated treasure trove of medieval drama, a genre that flourished across Europe for more than five centuries. We will cover texts ranging from the tenth-century work of the female playwright Hrotswitha (“Strong-Voice”) to the sixteenth century English plays banned by the Protestant Reformation. Our reading will also span a wide variety of genres: bloody martyrdoms, dirty farces, Robin Hood plays, romances of knights and ladies, moralities, and mysteries. Texts include: Hrotswitha of Gandersheim’s Dulcitius; “Robyn Hod and the Shryff of Notyngham”; Farce nouvelle et fort joyeuse du Pect (The Farce of the Fart); The York Cycle; Mankind; and Fulgens and Lucrece. Students will gain reading proficiency in Middle English; no previous experience with Middle English necessary.

English 2008 Chaucer’s Dreams (200-level seminar)
Spring 2014 (Prof. Solberg)
Introduces students to the work of Geoffrey Chaucer (“the father of English poetry,” as Dryden called him) by way of his dream visions, poems in which the poet-dreamer drifts off to sleep and explores, via astral projection, fantastical mental landscapes. In his dreams, Chaucer visits magical gardens full of talking birds, outer space (“the Galaxie, / which men clepeth [call] the Milky Wey”), and the virtual realities of his favorite books, like Virgil’s Aeneid and Ovid’s Metamorphoses. In order to fully comprehend Chaucer’s allusions, we will read his dream visions in the contexts of their sources and analogues; in other words, we will follow Chaucer’s guide to medieval learning. Texts include: Chaucer’s The Book of the Duchess, The Parliament of Fowls, The House of Fame, and The Legend of Good Women; Cicero’s Dream of Scipio, Boethius’ Consolation of Philosophy, and Le Roman de la rose (The Romance of the Rose). Students will gain reading proficiency in Middle English; no previous experience with Middle English necessary. In the spirit of Chaucer’s dream visions, which creatively reimagine and adapt older literature, students can opt to substitute creative projects for their final independent research paper.

English 010. Shakespeare's Afterlives
Fall 2013 (Prof. Kitch)
Richard III as Adolf Hitler, Hamlet in the suburbs of post-war America, Prince Hal as a street hustler in Seattle—Shakespeare’s plots and characters have been adapted and revised almost continuously over the centuries. How do we understand these afterlives in relation to Shakespeare’s originals? How do adaptations serve particular cultural desires over time while reshaping Shakespeare’s status as a global author? Examines some sonnets and several plays from different genres in conjunction with adaptations by Oscar Wile, Jane Smiley, and Arthur Phillips, among others.  Films include John Madden’s Shakespeare in Love and Trevor Nunn’s Twelfth Night.

English 223 English Renaissance Drama
Fall 2013 (Prof. Kitch)
Traces the explosion of popular drama in London following the construction of the first permanent theaters in the 1560s. Gives special attention to the stories that Renaissance audiences liked best—those featuring revenge, adultery, and middle-class ascendancy. Topics include the cultural space of the Renaissance stage, the development of the double plot, and the cultivation of blank verse as a vehicle for drama.  Students are encouraged to try out several different staging techniques by engaging in short scene studies. Authors include Christopher Marlowe, William Shakespeare, Ben Jonson, and Thomas Middleton. Note: This course fulfills the pre-1800 literature requirement for English majors.

English 342 The Arts of Science in the English Renaissance
Spring 2014 (Prof. Kitch)
Examines the convergence of new modes of scientific knowledge and new genres of fiction in the period between 1500 and 1650, when writers such as Philip Sidney, William Shakespeare, and Margaret Cavendish redefined imaginative literature as a tool of scientific inquiry.  Topics include utopian technologies, alchemy and sexuality, natural philosophy, and the science of humanism.  Authors (in addition to those mentioned above) include Thomas More, Christopher Marlowe, John Donne, and Ben Jonson.  Secondary readings feature Francis Bacon, Bruno Latour, Steven Shapin, Bruce Moran, and Elizabeth Spiller, among others. Note: This course fulfills the pre-1800 literature requirement for English majors.

English 2150 Shakespeare's Comedies and Romances
Fall 2013 (Prof. Watterson)

English 2151 Shakespeare's Tragedies and Roman Plays
Spring 2014 (Prof. Watterson)

English 2152 Shakespeare's History Plays ("This/That England)
Spring 2015 (Prof. Watterson)

English 3000 Shakespeare at Sonnets
Spring 2015 (Prof. Watterson)

English 2290 Milton
Fall 2013 (Prof. Kibbie)
A critical study of Milton's major works in poetry and prose, with special emphasis on Paradise Lost.  Prerequisite:  One first-year seminar or 100-level course in English.  [Therefore, not open to first-semester first-year students.]

English 2304 The Age of Satire
Spring 2014 (Prof. Kibbie)
Explores various forms of satire and parody in the prose, poetry, drama and visual art of the Restoration and the Eighteenth Century, as well as the various attempts to censor or otherwise control satire.  Works will include Alexander Pope's Rape of the Lock, John Gay's Beggar's Opera, Jonathan Swift's Gulliver's Travels, Henry Fielding's Tom Jones, and the paintings and prints of William Hogarth.
One first-year seminar or 100-level course in English.


History 10c: Monsters, Marvels, and Messiahs: Europe during the Age of Discovery
Fall 2014 (Prof. Denery)
.Examines how Europeans have sought to understand themselves and the world around
them through travel and travel literature. Particular attention paid to the fascinating ways
in which Europeans have used travel narratives to define and distinguish themselves from
their “others.”

History 110 {1140} Medieval, Renaissance, and Reformation Europe
Fall 2013 (Prof. Denery)
Introductory-level lecture. A wide-ranging introduction to pre-modern European history beginning with the reign of the Roman Emperor Constantine (c. 272–337) and concluding with the Council of Trent (1545–1563). Particular attention is paid to the varying relations between church and state, the birth of urban culture and economy, institutional and popular religious movements, and the early formation of nation states.

History 204 Science, Magic, and Religion
Fall 2014 (Prof. Denery)
Traces the origins of the scientific revolution through the interplay between late-antique and medieval religion, magic, and natural philosophy. Particular attention is paid to the conflict between paganism and Christianity, the meaning and function of religious miracles, the rise and persecution of witchcraft, and Renaissance hermeticism. (Same as Religion 204.)

History 208 The History of History
(Prof. Denery.
Seminar. What is history and how do we come to know it? Does history follow a plan and, if so, what sort of plan? Examines the practice of historical inquiry from the ancient world to Marx, with particular emphasis on the way in which religious thought has shaped conceptions of history. Topics include apocalyptic history, conspiracy theory, and bad history. Prerequisite: One course in history.

307c. Topics in Medieval and Early Modern European History
Fall 2013 (Prof. Denery)
A research seminar for majors and interested non-majors focusing on Medieval and Early Modern Europe. After an overview of recent trends in the historical analysis of this period, students pursue research topics of their own choice, culminating in a significant piece of original historical writing (approximately twenty-five pages in length).
Prerequisite: One course in history.

History 2062 European States and Empires, 1492-1815
Fall 2013 (Prof. Roberts)
Lecture. The practice of European politics changed dramatically over the course of the early modern period, the age that stretched from Columbus to Napoleon. National governments became more centralized and began the process of forming their subjects into modern citizens who spoke the same language, worshipped according to the same confession, and believed in certain principles of government. At the same time, Europe transformed itself from a relatively weak region to a dominant world power with colonies all over the globe. Analyzes the development of modern politics, nationalism, and imperialism, and takes the nations of Spain, the Dutch Republic, Britain, and France as its main case studies.

History 2540 The Politics of Private Life
Fall 2013 (Prof. Roberts)
Intermediate seminar. Examines how and why “the personal was political” in Europe and the Atlantic World from 1400 to 1800 by analyzing the politics (broadly defined) of marriage, love, and sex. Investigates in particular the effects of religious reform, colonial exchange, philosophy, and political revolution on private life. Readings include correspondence, novels, and memoirs as well as scholarly analyses of divorce, homosexuality, romantic love, and marriage. Students write a research paper based on research in primary sources.

History 2060 Old Regime and Revolutionary France
Spring 2014 (Prof. Roberts)
Lecture. At the beginning of the eighteenth century, many heralded King Louis XIV as the most powerful monarch to ever rule in Europe. At the end of the century, however, the French people overthrew the vaunted monarchy he had helped build. Considers what social, cultural, and intellectual conflicts helped shape politics and society in eighteenth-century France; why France had a revolution; and why the Revolution became radical and — all too often — violent.

History 2541 Crime and Punishment
Spring 2014 (Prof. Roberts)
Intermediate seminar. Crime provides a useful lens through which historians can understand the past because defining and punishing transgressions forced people to articulate their values and ideals. Considers criminal figures such as miscreant nuns, unfaithful wives, impostors, and murderers by examining celebrated court cases in Europe from 1500 to 1800. Also examines historical methods. Students write a research paper based on primary sources. Prerequisite: One course in history.

Romance Languages

French 2409 {209} Introduction to the Study and Criticism of Medieval and Early Modern French Literature
Every fall. (Prof. Daniels or Prof. Dauge-Roth
An introduction to the literary tradition of France from the Middle Ages to the French Revolution. Students are introduced to major authors and literary movements in their cultural and historical contexts. Conducted in French.
Prerequisite: French 205 or higher, or permission of the instructor.

French 3210 {325} Witches, Monsters, and Demons: Representing the Occult in Early Modern France
Fall 2013 (Prof. Dauge-Roth)
The occult is, by definition, that which is hidden or unknown, yet popular and scholarly fascination with the shadowy and uncertain worlds of witches, monsters, demons, the devil, and the mysteries of nature and the cosmos has fueled attempts by various authorities, writers, and artists to represent and thus to know, control, or exploit the spectacular potential of the occult. Explores early modern and modern representations of occult figures, events, practitioners, and practices in France through historical, literary, and journalistic readings, art, film, television, and the web. Emphasis is placed on the early modern period, but analysis of modern inheritances and interest in the occult parallel investigation of earlier periods throughout the course. Conducted in French.

French 326 {3206} Body Language: Writing Corporeality in France
(Prof. Dauge-Roth)
Analysis of texts and images from early modern literary, philosophical, medical, ecclesiastical, and artistic sources from the sixteenth through eighteenth centuries, as well as of modern film, web, and textual media, allows students to explore the conflicting roles of early modern bodies through several themes: birth and death, medicine and hygiene, gender and sexuality, social class, race, monstrosity, Catholic and Protestant visions of the body, the royal body, the body politic. Thoughtful comparison and examination of the meanings of the body today encouraged throughout. Conducted in French.
Prerequisite: Two of the following: French 207 or 208, French 209 or 210, one 300-level course in French; or permission of the instructor.

French 3203 {323} Murder, Monsters, and Mayhem: The fait divers in French Literature and Film.
(Prof. Dauge-Roth)
Examines the fait divers, a news item recounting an event of a criminal, strange, or licentious nature, as a source for literary and cinematographic production. Traces the development of the fait divers from its beginnings in the 16th-century popular press and its relationship to the rise of the short story. Explores how literary authors and filmmakers past and present find inspiration in the news and render “true stories” in their artistic work. Readings may include selections from Rosset, J-P. Camus, Le Clézio, Cendrars, Beauvoir, Duras, Genet, Modiano, Bon, newspapers, and tabloids. Conducted in French.
Prerequisite: Two of the following: French 207 or 208, French 209 or 210, one 300-level course in French; or permission of the instructor.

Italian 3020 Dante’s Divine Comedy
(Prof. Saiber)
One of the greatest works of literature of all times, Dante’s Divine Comedy leads us through the torture-pits of Hell, up the steep mountain of Purgatory, to the virtual, white-on-white zone of Paradise, and then back to where we began: our own earthly lives. We accompany Dante on his allegorical journey, armed with knowledge of Italian culture, philosophy, politics, religion, and art history. We piece together a mosaic of medieval Italy, while developing and refining abilities to read, analyze, interpret, discuss, and write about both literary texts and critical essays.  Some years in English, 200-level; some years in Italian, 300-level.

Italian How to Eat with Utensils and Not Get Pregnant: A User’s Guide to the Italian Renaissance
(Prof. Saiber)
How can I obtain power and keep it?  What are “the rules” for a young person in search of a spouse?  What should I do to be truly educated?  How can I appear to be of a social class higher than I am?  How can I stop being depressed?  What are the qualities of “real” art or literature?  Such timeless questions were answered in innumerable advice and “how-to” manuals in the Italian Renaissance, a pre-modern period in which thoughts of self-fashioning and self-inquiry proliferated like never before.  This course will explore a large selection of serious and satirical advice manuals on health, marriage, sex, family, religion, education, money-making, diplomacy, the art of battle, etiquette, the arts, and patronage, and draw parallels to the advice we seek and the advice we give in the name of “self-help” today.  Included are works such as Machiavelli’s Prince, Castiglione’s Book of the Courtier, Della Porta’s Natural Magic, Della Casa’s Galateo of Manners, Ficino’s Book of Life, and Rudolph Bell’s How To Do It: Guides to Good Living for Renaissance Italians. In English, 200-level.

Italian 300 Renaissance Theater
(Prof. Saiber)
During the first half of the semester, students study seven Italian Renaissance plays and are introduced to the history of Italian theater.  During the second part of the semester, students produce, direct, and perform a Renaissance play or scenes from a variety of plays. Authors include Poliziano, Machiavelli, Aretino, Trissino, Tasso, and Bruno. Conducted in Italian.

Fall 2013
Spanish 346/GWS 316 Dressing & Undressing in Early Modern Spain
Fall 2013 (Prof. Boyle)
Focuses on the literal and metaphorical practices of “dressing” and “undressing” as depicted in the literature of Early Modern Spain. Considers how these practices relate to the (de)construction of Gender and Empire throughout the period. What does dress have to do with identity and power? What might nakedness reveal about ideal and defective bodies? These questions will be enriched through exploration of a series of images in collaboration with the Bowdoin College Museum of Art. Authors considered during the semester include Fernando de Rojas, Miguel de Cervantes, María de Zayas, Teresa de Jesús, Tirso de Molina, and Ana Caro.


Spring 2013 Prof. Boyle
Spanish 344 / GWS 344 -  Bad Girls on Stage in Early Modern Spain and Spanish America
(Prof. Boyle)
In both Early Modern Spain and Spanish America, the figure of the “bad girl” takes a variety of forms, some familiar and others surprising, including witches, criminals, prostitutes, adulterers, single women, orphans, lesbians, abused wives, brainy women and back-stabbing girlfriends. Against the backdrop of the Spanish Inquisition, colonization and the early decline of the Spanish empire, this course aims to rethink the category of the “bad girl” in these two territories by examining her shifting representation in a series of early modern plays, chronicles and institutional manuals. We will also consider how representations of the early modern “bad girl” has been adapted by popular films in order to promote a larger discussion about the relationships between gender, deviance, spectacle and rehabilitation.

The Terra Foundation Essays series provides an international forum for the thorough and sustained exploration of fundamental ideas and concepts that have shaped American art and culture over time. Exploring and illuminating a selection of ideas that have been particularly salient within the production and consumption of art in the United States over three centuries, the Terra Foundation Essays present original research by an international roster of established and emerging scholars who consider American art in its multiple, trans-geographic contexts. The essays in each volume expand the conceptual and methodological terrain of scholarship on American art, offering comparative models and conceptual tools relevant to all scholars of art history and visual culture, as well as other disciplines within the humanities.

Rachael Z. DeLue (Princeton University) serves as series editor for the Terra Foundation Essays. She specializes in the history of American art and visual culture, with particular focus on landscape representation, intersections between art and science, and the visual culture of race and race relations in the United States.

The Terra Foundation Essays are published by the Terra Foundation for American Art and distributed by University of Chicago Press.

Picturing (Volume 1)

Edited by Rachael Z. DeLue
(Publication date: March 2016)

The history of American art is a history of objects, but it is also a history of ideas about how we create and consume these objects. As Picturing convincingly shows, the critical tradition in American art has given rise to profound thinking about the nature and capacity of images and formed responses to some of the most pressing problems of picturing: What is an image, and why make one? What do images do?

The first volume in a new series on critical concerns in the history of American art, Picturing brings together essays by a distinguished international group of scholars who discuss the creation and consumption of images from the early modern period through the end of the twentieth century. Some of the contributions focus on art critical texts, like Gertrude Stein’s portrait of Cézanne, while others have as their point of departure particular artworks, from a portrait of Benjamin Franklin to Eadweard Muybridge’s nineteenth-century photographs of the California Coast. Works that addressed images and image making were not confined to the academy; they spilled out into poetry, literature, theater, and philosophy, and the essays’ considerations likewise range freely, from painting to natural history illustrations, travel narratives, and popular fiction. Together, the contributions demonstrate a rich deliberation that thoroughly debunks the notion that American art is merely derivative of a European tradition.

Picturing (2016)
216 pages
6.7 x 9.5 inches
62 color illustrations

978-0-932171-57-3 (paper)
978-0-932171-58-0 (e-book)

Picturing Contributors

Rachael Z. DeLue (series and volume editor), “Picturing: An Introduction”

Rachael Z. DeLue is a professor in the Art & Archaeology Department at Princeton University. She specializes in the history of American art and visual culture, with particular focus on landscape representation, intersections between art and science, and the visual culture of race and race relations in the United States. DeLue is currently at work on a study of Charles Darwin’s diagram of evolution in On the Origin of Species, as well as a book about impossible images. Her publications include George Inness and the Science of Landscape (2004), Landscape Theory (2008), co-edited with James Elkins, and Arthur Dove: Always Connect (2016).

Michael Gaudio, “Magical Pictures; or, Observations on Lightning and Thunder, Occasion’d by a Portrait of Dr. Franklin”

Michael Gaudio is Associate Professor in the Department of Art History at the University of Minnesota. He specializes in the visual arts of early modern Europe and the Atlantic world, considering the visual arts in relation to early modern science, religion, and cultural encounter. Gaudio is the author of Engraving the Savage: The New World and Techniques of Civilization (University of Minnesota Press, 2008) and is currently completing a study of the hand-made bible concordances created by the seventeenth-century English Protestant community at Little Gidding, England. Other publications consider landscape painting in nineteenth-century America and the history of scientific illustration.

Ulla Haselstein, “Learning from Cézanne: Stein’s Working with and through Picturing”

Ulla Haselstein is Chair of the Literature Department at the John F. Kennedy Institute of North American Studies at the Freie Universität, Berlin. Her research focuses on American literary modernism and postmodernism, and literary theory. Haselstein is currently completing a book on Gertrude Stein. Her most recent book publications in English include several co-edited volumes, among them The Cultural Career of Coolness: Discourses and Practices of Affect Control in European Antiquity, the United States, and Japan (Lexington Books, 2013), The Pathos of Authenticity: American Passions of the Real (Winter, 2010), and The Power and Politics of the Aesthetic in American Culture (Winter, 2007).

Matthew C. Hunter, “Did Joshua Reynolds Paint His Pictures? The Transatlantic Work of Picturing in an Age of Chymical Reproduction”

Matthew C. Hunter is a professor in the Department of Art History and Communication Studies at McGill University. His research focuses on art and architecture of the eighteenth century with special attention to intersections among art, science, and technology. His publications include Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London (University of Chicago Press, 2013) and The Clever Object (Wiley, 2013), co-edited with Francesco Lucchini. He is currently writing a book on Joshua Reynolds’s experimental chemistry and the longer history of temporally evolving chemical objects in the British Enlightenment.

Elizabeth W. Hutchinson, “Conjuring in Fog: Eadweard Muybridge at Point Reyes”

Elizabeth W. Hutchinson is Associate Professor in the Department of Art History and Archaeology at Barnard College-Columbia University. Her areas of specialization include North American art through World War I and feminist and cultural theory. She is particularly interested in the relationship between the visual culture of a variety of North American groups and its viewers and the ongoing impact of the colonial history of the Americas. Hutchinson is the author of The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890–1915 (Duke University Press, 2009), and her current research focuses on the issue of sovereignty over land and self-representation, considering among other things portraits of Native Americans from the colonial period to the twentieth century.

Robin Kelsey, “Pictorialism as Theory”

Robin Kelsey is the Shirley Carter Burden Professor of Photography in the Department of History of Art & Architecture at Harvard University. A specialist in the histories of photography and American art, he has published on such topics as survey photography, landscape theory, ecology and historical interpretation, and the nexus of art and law, and he is currently researching a book about photography in Cold War America. Kelsey is the author of Archive Style: Photographs and Illustrations for U.S. Surveys, 1850–1890 (University of California Press, 2007) and Photography and the Art of Chance (Harvard University Press, 2015).

Scale (Volume 2)

Edited by Jennifer L. Roberts
(Publication date: September 2016)

This volume, the second in the Terra Foundation Essays series, aims to open a dialogue on scale in American art history by showcasing the new forms of historical and theoretical awareness that a focus on the subject can bring. The literature on scale—both in the American art field and in art history generally—is scattered, fragmentary, inconsistent, and insufficiently theorized, despite its profundity as a social and cultural metric. Scale is the aspect of material production that has been most spectacularly evacuated from contemporary art history and its cognate disciplines, dependent as they are on photographic and digital reproduction and the heedless expansions and contractions that these technologies allow.

To reintroduce scale as a central facet of art-historical thinking is, therefore, to raise questions and problems that have been largely invisible to the discipline in the past half-century. Attending to scale forces, in particular, a heightened recognition of the properties of materials and to the kind of technical knowledges held by makers but (usually) not by historians. Matter is not infinitely scalable; inasmuch as attention to scale forces attention to this resistance and reality of matter, it is also crucial as a bulwark against uncritical celebration of the increasingly rapid dematerializations of digital global culture. With texts addressing subjects as varied as the viewer’s physical relationship to Barnett Newman’s abstract canvases, the arduous cross-disciplinary engineering behind the sculpting of Mount Rushmore, and the charged significance of liberty poles in the landscape of eighteenth-century New York, Scale argues for a reconsideration of the specificity of scalar relationships in American art and visual culture and the original material and political insights such a reading reveals.

Scale (2016)
256 pages
6.7 x 9.5 inches
80 color illustrations

978-0-932171-59-7 (paper)
978-0-932171-60-3 (e-book)

Scale Contributors

Glenn Adamson, “Imprints: Scale and the Maker’s Trace” (with Joshua G. Stein)

Glenn Adamson is a curator and theorist who works across the fields of design, craft and contemporary art. He was until March 2016 the Director of the Museum of Arts and Design, New York. He has previously been Head of Research at the V&A, and Curator at the Chipstone Foundation in Milwaukee. His publications include Art in the Making (2016, co-authored with Julia Bryan Wilson); Invention of Craft (2013); Postmodernism: Style and Subversion (2011); The Craft Reader (2010); and Thinking Through Craft (2007).

Wendy Bellion, “Mast Trees, Liberty Poles, and the Politics of Scale in Late Colonial New York”

Wendy Bellion is associate professor of art history at the University of Delaware. She is the author of Citizen Spectator: Art, Illusion, and Visual Perception in Early National America (University of North Carolina Press, 2011), which was awarded the Charles C. Eldredge Prize for Outstanding Scholarship in American Art by the Smithsonian American Art Museum. She has lectured and published widely on the art of the British Atlantic world and early modern Americas, and she has held fellowships with organizations including the Terra Foundation for American Art, the NEH, and the Center for Advanced Studies in the Visual Arts. Her current book project, What Statues Remember, explores issues of iconoclasm, reenactment, and historical memory in New York City.

Wouter Davidts, “‘As Pointless as a Yard Rule’: Barnett Newman and the Scale of Art”

Wouter Davidts lives and works in Antwerp, Belgium. He is adjunct professor at the Department of Architecture & Urban Planning, Ghent University, and teaches at the Royal Conservatory, Antwerp. He is author of Bouwen voor de Kunst? (A&S Books, 2006) and coeditor of The Fall of the Studio (Valiz, 2009), CRACK: Koen van den Broek (Valiz, 2010), and Luc Deleu—T.O.P. office: Orban Space (Valiz, 2012). He curated Abstract USA 1958–1968: In the Galleries at the Rijksmuseum Twenthe in Enschede (2010) and, most recently, The Corner Show at Extra City Kunsthal, Antwerp (2015). He is currently working on a book-length project on size and scale in postwar American art entitled Larger than the Body, for which he received a Terra Foundation Research Travel Grant in 2015.

Darcy Grimaldo Grigsby, “Blow-Up: Photographic Projection, Dynamite, and the Sculpting of American Mountains”

Darcy Grimaldo Grigsby is professor of the history of art and the Richard and Rhoda Goldman Distinguished Professor in the Arts and Humanities at the University of California, Berkeley. She is author of Extremities: Painting Empire in Post-Revolutionary France (Yale University Press, 2002); Colossal: Engineering the Suez Canal, Statue of Liberty, Eiffel Tower and Panama Canal (Periscope Publishing, 2012), which concerns Franco-American rivalries of scale; and Enduring Truths: Sojourner’s Shadows and Substance (University of Chicago Press, 2015). Her current book in progress, Creole Looking: Portraying France’s Foreign Relations in the Nineteenth Century, examines France’s relationship to the Caribbean and Americas.

Christopher P. Heuer, “Arctic Matters in Early America”

Christopher P. Heuer is acting Director of the Research and Academic Program at the Clark Art Institute and faculty at Williams College. He is the author of The City Rehearsed: Object, Architecture and Print in the Worlds of Hans Vredeman de Vries (Routledge, 2009) and co-author of Vision and Communism (The New Press, 2011). The recipient of Fulbright, Getty, Mellon, Kress, Humboldt, and CASVA fellowships, he taught for many years at Columbia and Princeton Universities. Heuer remains a founding member of the media collective Our Literal Speed, based in Selma, Alabama. His new book on the Renaissance arctic, Into the White, is forthcoming from Zone Books/MIT Press.

Jennifer L. Roberts (volume editor), “Introduction: Seeing Scale”

Jennifer L. Roberts is the Elizabeth Cary Agassiz Professor of the Humanities at Harvard University. Her current research and teaching is focused on craft and materiality theory, print studies, and the history and philosophy of science. She is the author of three books spanning American art from the 1760s to the 1970s: Mirror-Travels: Robert Smithson and History (Yale University Press, 2004), Jasper Johns/In Press: The Crosshatch Works and the Logic of Print (Harvard Art Museums/Hatje Cantz, 2012), and Transporting Visions: The Movement of Images in Early America (University of California Press, 2014). She is also coauthor of the Prentice Hall textbook American Encounters: Art, History, and Cultural Identity (2007).

Joshua G. Stein, “Imprints: Scale and the Maker’s Trace” (with Glenn Adamson)

Joshua G. Stein is founder of the Los Angeles–based studio Radical Craft and the codirector of the Data Clay Network, a forum for exploring the interplay between digital techniques and ceramic materials. Radical Craft ( operates as a laboratory for testing how traditional phenomena (from archaeology to craft) can inflect the production of urban spaces and artifacts, evolving newly grounded approaches to the challenges posed by contemporary virtuality, velocity, and globalization. He has taught at the California College of the Arts, Cornell University, SCI-Arc, and the Milwaukee Institute of Art & Design. He was a 2010–2011 Rome Prize Fellow in Architecture and is currently professor of architecture at Woodbury University.

Jason Weems, “Scale, a Slaughterhouse View: Industry, Corporeality, and Being in Turn-of-the-Century Chicago”

Jason Weems is associate professor of American art and visual culture at the University of California, Riverside. He is the author of Barnstorming the Prairies: How Aerial Vision Shaped the Midwest (University of Minnesota Press, 2015) and is currently working on the intersection of art and archaeology in the Americas. He is also curator of the 2015 exhibition Interrogating Manzanar: Photography, Justice, and the Japanese American Internment. He has held fellowships from the Hellman Foundation, the Crystal Bridges Museum of American Art, the Smithsonian American Art Museum, the National Air and Space Museum, the Terra Foundation for American Art, ACLS, the University of California, the University of Michigan, and Stanford University.

Circulation (Volume 3)

Edited by François Brunet
(Publication date: June 2017)

Circulation as a category for art history is unquestionably rooted in our contemporary context, especially in the culture of internet and the digital image, and the ever-increasing conversation between art history and visual culture. However, since the eighteenth century, circulation—understood as a multimodal phenomenon: spatial, temporal, commercial, international, intercultural, intermedial—has been a shaping factor in the history of the arts of the United States.

This volume, the third in the Terra Foundation Essays series, seeks to map out some of the many planes and directions in which American art works and pictures have existed and produced meaning by moving, while keeping in mind the many failures and differences of circulation. Broad, transversal investigations focusing on specific objects of various scope, rather than a more formalized catalogue of media, genres, periods, or artists have been privileged in an effort to indicate rather than cover the endless diversity but also convergent pervasiveness of circulations.

Circulation (2017)
224 pages
6.7 x 9.5 inches
58 color illustrations

978-0-932171-61-0 (paper)
978-0-932171-62-7 (e-book)

Circulation Contributors

François Brunet (volume editor), “Introduction: No Representation without Circulation”

A historian of images and American culture, François Brunet teaches at Université Paris Diderot, where he serves as chair of the Laboratoire de recherches sur les cultures anglophones, and is a fellow of the Institut Universitaire de France. His publications include La naissance de l’idée de photographie (new ed., Presses universitaires de France, 2011), La photographie histoire et contre-histoire (Presses universitaires de France, 2017), and Photography and Literature (Reaktion Books, 2009). He has curated the exhibitions Images of the West: Survey Photography in French Collections, 1860–1880 (Musée d’Art Américain Giverny, 2007) and Daguerre’s American Legacy: Photographic Portraits from the Wm. B. Becker Collection (Bry-sur-Marne, Fall 2013; MIT Museum, 2014). He has also published about 150 articles and reviews and is a member of the editorial boards of American Art and History of Photography. His current projects focus on the international circulation of images and objects in the nineteenth century and on the photographic imagination of history.

Thierry Gervais, “Shifting Images: American News Photographs, 1861–1945”

Thierry Gervais is assistant professor at Ryerson University and head of research at the Ryerson Image Centre (RIC), Toronto. He received his PhD from the École des hautes études en sciences sociales (Paris) in 2007. He was the editor in chief of Études photographiques from 2007 to 2013 and is the author of numerous articles on photojournalism in peer-reviewed journals and scholarly publications. He was the curator of the exhibition Dispatch: War Photographs in Print, 1854–2008 (RIC, Fall 2014) and the cocurator of the exhibitions Views from Above (Centre Pompidou-Metz, Spring 2013), Léon Gimpel (1873–1948),The Audacious Work of a Photographer (Musée d’Orsay, Paris, Spring 2008), and L’événement: Les images comme acteurs de l’histoire (Jeu de Paume, Paris, Winter 2007). He organized the symposia “The ‘Public Life’ of Photographs” (RIC, 2013), “Collecting and Curating Photographs: Between Private and Public Collections” (RIC, 2014), and “Photography Historians: A New Generation?” (RIC, 2015). He edited The “Public” Life of Photographs (RIC/MIT Press, 2016), and his book (in collaboration with Gaëlle Morel) titled La fabrique de l’information visuelle: Photographies et magazines d’actualité (Textuel, 2015) will be published in English by Bloomsbury in 2017.

Tom Gunning, “Circulation and Transformation of Cinema; or, Did the French Invent the American Cinema?”

Tom Gunning is the Edwin A. and Betty L. Bergman Distinguished Service Professor in the Department of Cinema and Media Studies at the University of Chicago. He is the author of D. W. Griffith and the Origins of American Narrative Film (University of Illinois Press, 1986), The Films of Fritz Lang: Allegories of Vision and Modernity (British Film Institute, 2000), and over 150 articles on early cinema, film history and theory, avant-garde film, film genre, and cinema and modernism. With André Gaudreault, he originated the influential theory of the “cinema of attractions.” In 2009, he was awarded an Andrew A. Mellon Distinguished Achievement Award, the first film scholar to receive one, and in 2010, he was elected to the American Academy of Arts and Sciences. He is currently working on a book on the invention of the moving image.

J. M. Mancini, “American Art’s Dark Matter: A History of Uncirculation from Revolution to Empire”

J. M. Mancini is senior lecturer in the Department of History at Maynooth University (Ireland). Her publications include Architecture and Armed Conflict (edited with Keith Bresnahan, Routledge, 2015); Pre-Modernism: Art-World Change and American Culture from the Civil War to the Armory Show (Princeton University Press, 2005), winner of the Smithsonian American Art Museum’s 2008 Charles C. Eldredge Prize for Outstanding Scholarship in American Art; and essays in American Art, American Quarterly, Critical Inquiry, and other journals. She is currently completing a book entitled Art and War in the Pacific World (contracted to the University of California Press).

Frank Mehring, “How Silhouettes Became ‘Black’: The Visual Rhetoric of the Harlem Renaissance”

Frank Mehring is professor of American studies at Radboud University, Nijmegen. He teaches twentieth- and twenty-first-century visual culture and music, theories of popular culture, transnational modernism, and processes of cultural translation between European and American contexts. His publications include Sphere Melodies (Metzler, 2003) on Charles Ives and John Cage, Soundtrack van de Bevrijding (Vantilt 2015), and The Mexico Diary: Winold Reiss between Vogue Mexico and the Harlem Renaissance (wvt: 2016). In 2012, he received from the European Association for American Studies the biennial Rob Kroes Award, which recognizes the best book-length manuscript in Europe in American studies, for his monograph The Democratic Gap (Winter, 2014). He has organized the first international symposium on Winold Reiss in Berlin (2011) and co-curated exhibitions on Winold Reiss (2012), the Marshall Plan (2013), and Liberation Songs (2014) in New York, Nijmegen, and The Hague. His current project focuses on the democratic vision of Marshall Plan photography and exhibitions.

Hélène Valance, “Rematriating James McNeill Whistler: The Circulation of Arrangement in Grey and Black No. 1: Portrait of the Artist’s Mother

Hélène Valance is assistant professor at the Université de Franche-Comté. She recently published a book on nocturnes in American art at the turn of the twentieth century entitled Nuits américaines: L’art du nocturne aux États-Unis, 1890–1917 (Presses de l’université Paris-Sorbonne, 2015). The book received the Terra Foundation–Yale University Press American Art in Translation Book Prize, and will be translated and published by Yale University Press in 2018. Her current projects include a collection of essays on destruction in American art and a book-length study of the reenactments of American myths and historical events in nineteenth- and twentieth-century visual culture.

Experience (Volume 4)

Edited by Alexander Nemerov
(Publication date: September 2017)

In his essay “Experience” (1844), Ralph Waldo Emerson writes that human beings, by their nature, cannot fasten onto life as lived. It escapes us as it happens. If this be so, how much more unlikely would it be that experience might make it into a work of art? And why, one could add, should one even want such presence to be there? The run of scholarship in American art in the last twenty to thirty years has assumed that works of art are coded—that they are constructed—and has analyzed them accordingly, often with salutary results.

Yet, without discounting the matrix of codes and the other structures of distance and mediation that govern the production and reception of artifacts, Experience, the fourth volume in the Terra Foundation Essays series, explores the possibility of immediacy: the idea that we can sense the past directly in an artifact. Emphasizing the sensibility of the interpreter, the techniques of art historical writing (its affinity with fiction, its powers of description), and relying on the emotional charge—the punctum—that certain representations can deliver, this volume delves into an ongoing life of sensuous experience in seven different American eras and objects.

Experience (2017)
216 pages
6.7 x 9.5 inches
72 color illustrations

978-0-932171-63-4 (paper)
978-0-932171-64-1 (e-book)

Experience Contributors

Michael Amico, “The Pulpit of Henry Trumbull”

Michael Amico is a PhD candidate in American studies at Yale University. Through a combination of material culture studies, place-based research, and narrative history, he studies how emotions from the past continue to unfold in the present. His dissertation—“The Forgotten Union of the Henrys: A True Story of the Peculiar and Rarest Intimacy of the American Civil War”—is a narrative-driven microhistory that traces how Henry Trumbull and Henry Camp of the Tenth Connecticut Regiment were “united in well-nigh perfect oneness” during their two years of service together. It explores how the political ideal of equality expressed in the trope of friendship was negotiated at the level of individual experience. He is also the author, with Michael Bronski and Ann Pellegrini, of “You Can Tell Just by Looking”: And 20 Other Myths about LGBT Life and People (Beacon Press, 2013). The book was a finalist for the Lambda Literary Award in Nonfiction.

Lucy Mackintosh, “‘A Long-Forgotten Art’: Two Māori Flutes in the Peabody Essex Museum”

Lucy Mackintosh is a doctoral candidate at the University of Auckland, New Zealand. Her research examines cultural narratives forged in landscapes throughout Auckland. She has worked as a consultant historian for over fifteen years on historic places, cultural landscapes, and material culture for a number of institutions, including the Auckland Museum, Otago University, Heritage New Zealand, and the Ministry for Culture and Heritage. Alongside her doctoral thesis, she has recently been working on a number of projects related to her research, including a master plan for Cornwall Park and an exhibition at Auckland Museum. She lived in the United States from 2010 to 2012, where she researched the Māori Collection at the Peabody Essex Museum and worked on the Artefacts of Encounter project based in the Museum of Archaeology and Anthropology at the University of Cambridge. Her publications include “Intimate Immensity,” in The Lives of Colonial Objects, edited by Annabel Cooper, Lachy Paterson, and Angela Wanhalla (University of Otago, 2015), and “Holding on to Objects in Motion: Two Māori Musical Instruments in the Peabody Essex Museum,” in Material Culture Review (vol. 74/75, Spring 2012, pp. 86–101).

Jennifer Jane Marshall, “‘Ever Not Quite’: Empathy, Experience, and William Edmondson”

Jennifer Jane Marshall is associate professor at the University of Minnesota–Twin Cities. She is the author of Machine Art, 1934 (University of Chicago Press, 2012), which won the Robert Motherwell Book Award from the Dedalus Foundation in 2013. She is currently writing a monograph on William Edmondson, an investigation of the role of biography in art history, the place of race in American modernism, and the impact of artistic process on aesthetic experience. This project has been supported by a National Endowment for the Humanities grant.

Alexander Nemerov (volume editor), “Introduction: Experience” and “The Hushed Place: Richard Choi’s Trampoline (2011)”

Alexander Nemerov is the Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities at Stanford University. His most recent books are Soulmaker: The Times of Lewis Hine (Princeton, 2016) and Silent Dialogues: Diane Arbus and Howard Nemerov (Jeffrey Fraenkel, 2015). His book on the American photographer Ralph Eugene Meatyard, Ralph Eugene Meatyard: American Mystic, was published by Fraenkel in 2017. Nemerov has recently published essays on the photographers Gregory Crewdson, William Eggleston, Bill Yates, and Danny Lyon. In 2017, he delivered the 66th annual Andrew W. Mellon Lectures at the National Gallery of Art.

David Peters Corbett, “The World Is Terrible and It Is Not There at All: George Bellows on Monhegan Island”

David Peters Corbett is professor of American art and director of the Centre for American Art at the Courtauld Institute, University of London. He has written on American and British art between 1850 and 1950 and is currently completing a book on US urban painting and the landscape tradition from 1880 to 1930. His publications include The Modernity of English Art, 1914–30 (Manchester University Press, 1997), The Geographies of Englishness: Landscape and the National Past, 1880–1940 (Yale University Press, 2002), Anglo-American: Artistic Exchange between Britain and the USA (Wiley-Blackwell, 2012), and An American Experiment: George Bellows and the Ashcan Painters (National Gallery of Art, London, 2011). He has been Terra Foundation Senior Fellow at the Smithsonian American Art Museum and a Leverhulme Senior Research Fellow, and has held visiting positions at Yale, Oxford, Cambridge, and the École normale supérieure in Paris. Between 2007 and 2012, he was editor of Art History.

Xiao Situ, “Emily Dickinson’s Windows”

Xiao Situ is a PhD candidate in the history of art at Yale University, where she is completing her dissertation, “Emily Dickinson’s Window Culture, 1830–1886.” She specializes in eighteenth- to mid-twentieth-century visual and material culture in the United States and the United Kingdom, with a particular focus on the intersection of fine arts, interior design, and popular culture. She is also an MAR candidate at Yale Divinity School and the Institute of Sacred Music, where she studies and practices the integration of pastoral care and the arts. As a museum educator at Yale University Art Gallery, she plans and leads programs for youth, families, and individuals with special needs. Her work bridges art-historical scholarship, museum education, and rehabilitative and restorative care. She is currently working on a project about reproductive loss and grief in art.

Robert Slifkin, “The Empty Room and the End of Man”

Robert Slifkin is associate professor of fine arts at the Institute of Fine Arts, New York University, where he teaches courses addressing various aspects of modern and contemporary art and culture. He is the author of Out of Time: Philip Guston and the Refiguration of Postwar American Art (University of California Press, 2013), which was awarded the Philips Book Prize. His essays and reviews have appeared in such journals as Artforum, American Art, Art Bulletin, October, and the Oxford Art Journal, and he has been the recipient of fellowships from the Henry Luce Foundation, the Clark Art Institute, the Getty Research Institute, and the Henry Moore Foundation. He is currently working on a new book project entitled The New Monuments and the End of Man: American Sculpture between War and Peace, 1945–1975, which will consider the intertwined histories of sculpture and nuclear war in postwar US culture.

Intermedia (Volume 5)

Edited by Ursula A. Frohne with essays by Anna Arabindan-Kesson, Maggie Cao, Sebastian Egenhofer, Eva Ehninger, Judith Rodenbeck, and Michelle Smiley
(Publication date: 2019)

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