Participants

 

Jean-Philippe Antoine is Professor of Contemporary Art Theory in the Plastic Arts department of Paris 8 University. His research bears on images and the social construction of Memory, as well as modern definitions of art. His French translation of Samuel Morse’s Lectures on the Affinity of Painting with the Other Fine Arts is forthcoming, as well as Farces et attrapes. Inventer les images, a collection of essays on art history and theory. Other publications include La traversée du XX^e siècle. Joseph Beuys, l’image et le souvenir (MAMCO/Presses du Réel, 2011) and Marcel Broodthaers. Moule, Muse, Méduse (Presses du Réel, 2006). An artist, he works with painting, installations, soundworks and lectures-performances, including collaborations with Leif Elggren and Mikael Levin. Sound publications include Oui (2017), The Worried Ones (Antoine-Elggren), Live at 64 (2013), Nouvelles musiques anciennes (CD, 2011) and Objet Métal Esprit (EP, 2010), all at Firework Edition Records.

 

 

 

Laura Bieger is Chair of American Studies at Groningen University. She is the author of Ästhetik der Immersion (transcript 2007), which examines built spaces from Washington, D.C.’s government district to the Las Vegas Strip that turn world-image-relations into immersive spectacles. Her forthcoming book, Belonging and Narrative, considers the need to belong as a driving force of literary production and the novel as a primary place and home-making agent. Her essays and reviews have appeared in journals such as New Literary History, Amerikastudien/American Studies and ZAA. She has held teaching and research positions at Freie Universität Berlin, Universität Wien, Albert-Lubwigs-Universität Freiburg, the University of California at Berkeley, and IFK Wien. In the fall of 2017 she will be a DAAD-Visiting Scholar at Deutsches Haus at New York University.

 

 

 

Rachael Z. DeLue is Professor of art history at Princeton University.  She specializes in the history of American art and visual culture, with particular focus on intersections among art, science, and the history and theory of knowledge.  She 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.  She serves as the editor-in-chief of the Terra Foundation Essays and as the editor of Picturing (2016), the first volume in the series.  Publications include George Inness and the Science of Landscape (2004), Landscape Theory (2008, co-edited with James Elkins), and Arthur Dove: Always Connect (2016).

 

 

 

Larne Abse Gogarty is the Terra Foundation for American Art Postdoctoral Teaching Fellow at the Humboldt Universität, Berlin (2016-2018). She completed her PhD at University College London in 2015. Her primary research interests lie in modern and contemporary art with an emphasis on American performance, sculpture and social practice, Marxism, race and gender. She is currently working on her first book, provisionally titled The Art of Living: Social Practice and State Formation in American Art. She has also begun a new project on Chicago artists' groups between 1945-1975. She regularly writes criticism for Art Monthly and elsewhere, and is on the editorial collective for Cesura//Acceso, a journal for music, politics and poetics.

 

 

 

Jennifer A. González received her BA in Philosophy from Yale University, and Ph.D. in the History of Consciousness at the University of California, Santa Cruz. She is now Professor in the History of Art and Visual Culture department at UC Santa Cruz, and also teaches at the Whitney Museum Independent Study Program, New York. She has received fellowships from the Ford Foundation, the American Association of University Women, and the American Council of Learned Societies. She has written extensively on installation art, activist art and digital art and has published in a variety of art and scholarly journals including Frieze, Bomb, Diacritics, Camera Obscura, Open Space and Art Journal. Her essays about digital bodies and critical race studies have appeared in anthologies such as The Cyborg Handbook, Race in Cyberspace, Visible Worlds, Migrants' Time and Only Skin Deep: Changing Visions of the American Self. Her first book, Subject to Display: Reframing Race in Contemporary Installation Art (MIT Press, 2008), was a finalist for the Charles Rufus Morey Book Award and recipient of an Andrew Wyeth publication grant. Her second book, Pepón Osorio, was published by University of Minnesota Press (2013) and was awarded second place for the Best Latino Art Book in the International Latino Book Awards 2014.

 

 

 

Jessica L. Horton is an assistant professor of Native American, modern, and contemporary art history at the University of Delaware. She is the author of the book, Art for an Undivided Earth: The American Indian Movement Generation (Duke University Press, 2017), which was supported by a Wyeth Foundation Publication Grant and the Mellon Art History Publication Initiative. Her essays about globalization, space, materiality, ecology, and Indigenous politics have appeared in publications such as Art Journal, Art History, American Art, Third Text, and The Journal of Transnational American Studies.

 

 

 

Michael Leja (Ph.D., Harvard) is James and Nan Wagner Farquhar Professor of History of Art at the University of Pennsylvania.  His book Looking Askance: Skepticism and American Art from Eakins to Duchamp (2004) traces the interactions between the visual arts and the skeptical forms of seeing engendered in modern life in northeastern American cities between 1869 and 1917. It won the Modernist Studies Association Book Prize in 2005.  An earlier book, Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s (1993), situates the paintings of Jackson Pollock, Barnett Newman, and others in a culture-wide initiative to re-imagine the self in the midst of a traumatic history. It won the Charles Eldredge Prize for Distinguished Scholarship in American Art from the Smithsonian American Art Museum. He is currently at work on a book exploring changes in pictorial forms and in social relations associated with the industrialization of picture production and the development of a mass market for images in the mid-nineteenth century.

 

 

 

Hanne Loreck, Dr. phil., studied visual communication, art theory, philosophy, and German literature and is professor of art theory and culture and gender studies at the Hochschule für bildende Künste Hamburg since 2004, where she also holds an appointment as vice-president since 2006. She has held guest professorships in Erfurt, Budapest, Berlin and Frankfurt am Main. She publishes on recent art positions, art and media history of the 20th century; on fashion and cultural theory focusing on the subject; on visuality, imagery, and surfaces. Her book Camouflage. Zur Kunst der Tarnung is forthcoming.

 

 

 

Chris Nealon is Caroline Donovan Professor of English, and Chair of the English Department at Johns Hopkins University. He is the author of two books of criticism, Foundlings: Lesbian and Gay Historical Emotion before Stonewall (Duke, 2001) and The Matter of Capital: Poetry and Crisis in The American Century (Harvard, 2011), and three books of poetry: The Joyous Age (Black Square Editions, 2004), Plummet (Edge Books, 2009) and Heteronomy (Edge, 2014). He has written on the history of capitalism, and on theories of economic and literary value, in volumes for Cambridge and Oxford University Presses, as well as in PMLA, and in reviews for Public Books and The Los Angeles Review of Books. He is currently at work on a critique of academic antihumanism. He lives in Washington.

 

 

 

Joshua Shannon is Associate Professor and Director of Graduate Studies in the department of Art History and Archaeology at the University of Maryland. His research and teaching interests cover art and visual culture since 1945, including especially sculpture, photography, the urban landscape, and realism. He is the author of The Disappearance of Objects: New York Art and the Rise of the Postmodern City (Yale University Press, 2009) and of The Recording Machine: Art Fact during the Cold War (Yale University Press, spring 2017). He has also published articles and reviews in journals such as American Art, The Art Bulletin, Modernism/Modernity and October. Shannon has also held the Terra Visiting Professorship at the Freie Universität Berlin and the Andrew W. Mellon Postdoctoral Research Fellowship at the University of Michigan. He is founder and director of The Potomac Center for the Study of Modernity, an interdisciplinary and inter-institutional research initiative hosting events in Washington, DC.

 

 

 

Robert Slifkin is an Associate Professor of Fine Arts at the Institute of Fine Arts, New York University. 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 October, American Art, Artforum, Oxford Art Journal, and the Art Bulletin. He is currently working on a 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 U.S. culture.

 

 

 

Cherise Smith is Associate Professor of African and African Diaspora Studies and Art History.  She specializes in American art after 1945, especially as it intersects with the politics of identity, race, and gender. Smith joined the University of Texas at Austin in 2005, after finishing the PhD at Stanford University. Her research centers on African American art, the history of photography, performance, and contemporary art.  Her essays have appeared in Art Journal, American Art, and exposure among other venues.  Her book, Enacting Others: Politics of Identity in Eleanor Antin, Nikki S. Lee, Adrian Piper, and Anna Deavere Smith (Duke University Press, 2011), examines how identity is negotiated in performance art in which women artists take on the characteristics and manners of a racial, ethnic, and gender “other.” Currently, she is Executive Director of the Warfield Center Galleries where she spearheads Black Studies’ Art and Archive Initiative which seeks to expand UT’s holdings of art and material collections relating to people of African descent and increase its exhibition spaces.  Under its auspices, she created two exhibition spaces—the IdeaLab and the Christian-Green Gallery—and she has shepherded in art donations by Norman Lewis, Romare Bearden, and Charles White among others. She was awarded the Getty Foundation Postdoctoral Fellowship, the Ford Foundation Diversity Postdoctoral Fellowship, and a Research Fellowship at W.E.B. Du Bois Institute for African American Research at Harvard University.  She has worked in the curatorial departments of the Art Institute of Chicago, the De Young Museum, and the Saint Louis Art Museum among other institutions. 

 

 

 

Jacob Wamberg is Professor of Art History at Aarhus University (DK). He works on a (post)evolutionistic theory of the visual arts, especially in relation to post-natural ecologies and technology. Chairing the research project “Posthuman Aesthetics” (2014-18), his present focus is posthuman aspects of avant-garde art. His publications include Landscape as World Picture: Tracing Cultural Evolution in Images (2009 [2005]), Art, Technology and Nature: Renaissance to Postmodernity (2015, ed. with Camilla Skovbjerg Paldam), The Posthuman Condition: Ethics, Aesthetics and Politics of Biotechnological Challenges (2012, ed. with Kasper Lippert-Rasmussen and Mads Rosendahl Thomsen), and Art and Alchemy (ed. 2006).

 

 

 

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). This book was awarded the Fred. B. Kniffen Book Award from the International Society for Landscape, Place, and Material Culture Studies and the John Gjerde Book Prize from the Midwestern History Association. His current research includes an exploration of the intersection of art and archaeological imagery in the Americas at the turn of the century, and an investigation into photography of and by Native Americans during the New Deal. He curated the recent exhibition “Interrogating Manzanar: Photography, Justice and the Japanese American Internment,” and was the 2017 Terra-Fulbright Senior Fellow for American art at the University of Alcala de Henares in Spain.