2011 Panelist Biographies
2011 SYMPOSIUM INFORMATION HERE
William C. Agee (b.1936) is the Evelyn Kranes Kossak Professor of Art History at Hunter College, City University of New York, where has taught since 1987. He was educated at Andover, Princeton, and Yale. He serves on the Board of Govenors at the Addison Gallery of American Art, at Andover. He was an Associate Curator at the Whitney Museum of American Art (1966-68) and Associate Curator of the Department of Painting and Sculpture at the Museum of Modern Art (1968-1970). He served as Director of the Pasadena Art Museum (1970-74) and Director of the Museum of Fine Arts, Houston (1974-1982). He has organized numerous exhibitions and written extensively in the field of modern American art, including studies on Synchromism, Stuart Davis, Patrick Henry Bruce, Morton Schamberg, James Daugherty, New York Dada, Arthur Dove, John Marin, The 1930s in America, Ralston Crawford, Fairfield Porter, Jacob Kainen, Barbara Morgan, Arnold Friedman, Burgoyne Diller, Sam Francis, Donald Judd, Ken Noland, Ray Parker, Al Jensen, and John Graham and His Circle 1927-1942. He is currently writing a book for Phaidon, entitled Modern Art in America 1908-1968: A Critical and Thematic History, with completion set for June, 2011. He was Visiting Scholar in Residence at the Georgia O’Keeffe Research Institute in the spring of 2011.
Whitney Chadwick is an art historian who works in the areas of Surrealism, gender studies and contemporary art. She has taught at San Francisco State University (from which she retired in 2009) and the Massachusetts Institute of Technology, and has been a visiting professor at Williams College, the University of Uppsala, Stanford University, Mass College of Art, the Univesity of Ulster at Belfast, and the University of California Berkeley, among other institutions. Her books include The Modern Woman Revisited: Paris Between the Wars (edited with Tirza True Latimer) (2003), Framed (a novel) (1998), Significant Others: Creativity and Intimate Partnership (edited with Isabelle de Courtivron) (1993), Women, Art, and Society (1990), and Women Artists and the Surrealist Movement (1985). She holds a PhD from The Pennsylvania State University and an Honorary Doctorate from the University of Gothenburg. She lives in San Francisco with her husband the painter Robert Bechtle.
Huey Copeland is Assistant Professor of Art History at Northwestern University. An alumnus of the Whitney Museum Independent Study Program, Copeland received his PhD in the History of Art from the University of California, Berkeley. His work focuses on modern and contemporary art with emphases on articulations of blackness in the visual field, theories of subject formation, twentieth-century sculpture, histories of slavery, and African-American cultural politics. His writing has appeared in Artforum, Art Journal, Callaloo, Qui Parle, and Representations, as well as in several international catalogues and critical volumes. Copeland's first book, Bound to Appear: Art, Slavery, and the Radical Imagination, was awarded an Andy Warhol/Creative Capital Foundation Arts Writers Grant in 2009 and is currently under contract with the University of Chicago Press. While in Cambridge at the W.E.B. Du Bois Institute for African and African-American Research during the Spring 2011 semester, he began work in earnest on his second book project, which explores the visual profile of the negress within Western representation from the 19th century to the present and from which his lecture is drawn.
Erika Doss is professor and chair in the Department of American Studies at the University of Notre Dame, where she teaches courses in American, modern, and contemporary art and cultural studies. She is the author of Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism (1991), Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities (1995), Elvis Culture: Fans, Faith, and Image (1999), Looking at Life Magazine (editor, 2001), and Twentieth-Century American Art (2002). Her book Memorial Mania: Public Feeling in America was published by the University of Chicago Press in 2010. Doss is also the editor of the "Culture America" series at the University Press of Kansas, and is on the editorial boards of Material Religion: The Journal of Objects, Art, and Belief, Memory Studies, and Public Art Dialogue. Her current research project, "Picturing Faith: American Modernism and Religion," considers what religion meant to certain mid-century American modernists.
Barkley L. Hendricks, a Philadelphia native, studied at the Pennsylvania Academy of the Fine Arts from 1963 to 1967. Hendricks subsequently graduated with a BFA and MFA in painting and photography from Yale University. He has exhibited widely in solo and group shows and his works are held in major museum collections. The recipient of many awards and fellowships, he lives in New London, Connecticut where he has been a Professor of Art at Connecticut College since 1972.
Patricia Hills received her B.A. degree from Stanford University, her M.A. from Hunter College, City University of New York, and PhD from the Institute of Fine Arts, New York University. Now Professor of Art History at Boston University, she was formerly a curator at the Whitney Museum of American Art and also served as Director of the B. U. Art Gallery. She has written books and exhibition catalogues on both 19th- and 20th-Century American Art, including the history of genre painting, feminist art, and art and politics. She received fellowships from the Guggenheim Foundation, the National Endowment for the Humanities, the Smithsonian American Art Museum, the W.E.B. Du Bois Institute for African and African American Research, and the Georgia O’Keeffe Museum Research Center. Her books include Alice Neel (1983), John Singer Sargent (1986), Stuart Davis (1995), and May Stevens (2005). She co-authored The Figurative Tradition and the Whitney Museum of American Art (1980) and Eastman Johnson: Painting America (1999). Modern Art in the USA: Issues and Controversies of the 20th Century (2001) brought together writings by artists, poets, and critics to narrate the history of art controversies. Painting Harlem Modern: The Art of Jacob Lawrence, was published by the University of California in 2010.
Michael Leja (Ph.D., Harvard) studies the visual arts in various media (painting, sculpture, film, photography, prints, illustrations) in the 19th and 20th centuries, primarily in the United States. His work is interdisciplinary and strives to understand visual artifacts in relation to contemporary cultural, social, political, and intellectual developments. He is especially interested in examining the interactions between works of art and particular audiences. 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.
Michael Lobel is Associate Professor of Art History and Director of the M.A. Program in Modern and Contemporary Art, Criticism and Theory at Purchase College, State University of New York. He received his PhD from Yale University in 1999, and has taught and lectured at Yale, Parsons School of Design, Bard College, and the Whitney Museum of American Art. He is the author of Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art (Yale University Press, 2002) and James Rosenquist: Pop Art, Politics and History in the 1960s (University of California Press, 2009). His writings have appeared in such publications as Art Journal, Artforum, Parkett, and Oxford Art Journal. He has been the recipient of fellowships from the Getty Research Institute, the Mellon Foundation, the Smithsonian American Art Museum, the National Endowment for the Humanities, and the Henry Luce Foundation/American Council of Learned Societies. In 2007 he curated an exhibition for the Neuberger Museum of Art entitled “Fugitive Artist: The Early Work of Richard Prince, 1974-77.” He is currently working on several projects, including a book on the early twentieth-century American artist John Sloan, the Ashcan School, and popular illustration.
Richard Meyer is Associate Professor of Art History and Fine Arts at the University of Southern California, where he also directs The Contemporary Project, a multi-year initiative to forge new dialogues between the academy and the art world, and the Visual Studies Graduate Certificate, an interdisciplinary program that reaches across the university’s faculty and curriculum. He is the author of Outlaw Representation: Censorship and Homosexuality in Twentieth-Century American Art which was awarded the Charles C. Eldredge Prize for Outstanding Scholarship in American Art from the Smithsonian American Art Museum. With Anthony W. Lee, he co-authored Weegee and Naked City and in collaboration with Catherine Lord, he recently completed Art and Queer Culture, 1885-present, an illustrated survey forthcoming from Phaidon Press. In 2009, he curated “Warhol’s Jews: Ten Portraits Reconsidered” for the Jewish Museum in New York and the Contemporary Jewish Museum in San Francisco. Meyer is now writing a short history of the idea of contemporary art in America beginning in the late 1920s titled What was Contemporary Art?
Elizabeth Hutton Turner was appointed Vice Provost for the Arts at the University of Virginia in January 2008, she is a University Professor of Art History specializing in early twentieth century modern art. Previously Professor Turner was Senior Curator of The Phillips Collection from 1985 to 2007. Dr. Turner currently serves on the advisory board of the Calder Foundation and is currently is working on a book about Alexander Calder. Dr. Turner received her undergraduate and graduate degrees from the University of Virginia. Before joining The Phillips collection she was a Smithsonian Fellow and later worked for the National Museum of American Art (where she was a scholarly consultant for Perpetual Motif, the 1989 Man Ray Retrospective) and the National Endowment for the Humanities.
At the Phillips Collection Turner directed more than twenty-five projects including a series of traveling exhibitions derived from the permanent collection that address the earliest chapters of the Phillips’s collecting history, including Men of Rebellion: The Eight and their Associates at The Phillips Collection (author, 1990), Duncan Phillips Collects: Paris between the Wars (author, 1991); Two Lives: Georgia O’Keeffe and Alfred Stieglitz (co-author, 1992); Jacob Lawrence: The Migration Series (editor, 1993; also includes video and children’s book); and In the American Grain: Dove, Hartley, Marin, O’Keeffe, and Stieglitz (author, 1995).
During her tenure at The Phillips Dr. Turner curated and directed significant large loan exhibitions, including Americans in Paris: Man Ray, Gerald Murphy, Stuart Davis, Alexander Calder (principle author, 1996); Arthur Dove: A Retrospective (co-author, 1997), and Georgia O’Keeffe: The Poetry of Things (author, 1999). She contributed an essay on “Bonnard, Matisse, and the School of Paris” to the definitive text on The Phillips Collection and Duncan Phillips entitled The Eye of Duncan Phillips: A Collection in the Making, and was co- project director and co-curator for the accompanying exhibition Renoir to Rothko: The Eye of Duncan Phillips (1999).
Dr. Turner’s essay "Over the Line: The Art and Life of Jacob Lawrence" (2000) was included in the Jacob Lawrence catalogue raisonné and, on the occasion of its publication she curated the nationally touring show of the same title, which opened at The Phillips Collection in 2001. She was the curator and project director and author of Pierre Bonnard: Early and Late (2002), a show co-organized by The Phillips with the Denver Art Museum. Dr. Turner was the project director for Calder/Miró (2004) an exhibition co-organized by the Phillips Collection with the Foundation Beyeler in Basel (Switzerland). Dr. Turner was co-curator and an essayist for the catalogue of Paul Klee and America, a touring exhibition which was organized by the Menil, and installed by Dr. Turner at The Phillips Collection in 2006. In 2009, Dr. Turner co-curated Geogia O’Keeffe: Abstraction, which was co-organized by The Whitney Museum of American Art, The Phillips Collection and The Georgia O’Keeffe Museum. Dr. Turner’s numerous scholarly publications also include an essay on the jeune fille americaine for Women in Dada (1998) and an essay on "Calder’s Animal Sketching" for When We Were Young (2006).
Terry Smith, FAHA, CIHA, is Andrew W. Mellon Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Pittsburgh, and a Visiting Professor in the Faculty of Architecture, University of Sydney. He is the 2009 winner of the Mather Award for art criticism conferred by the College Art Association (USA). During 2001-2002 he was a Getty Scholar at the Getty Research Institute, Los Angeles, and in 2007-8 the GlaxoSmithKlein Senior Fellow at the National Humanities Research Centre, Raleigh-Durham. From 1994-2001 he was Power Professor of Contemporary Art and Director of the Power Institute, Foundation for Art and Visual Culture, University of Sydney. He was a member of the Art & Language group (New York) and a founder of Union Media Services (Sydney). He is the author of a number of books, notably Making the Modern: Industry, Art and Design in America (University of Chicago Press, 1993; inaugural Georgia O’Keeffe Museum Book Prize 2009); Transformations in Australian Art, volume 1, The Nineteenth Century: Landscape, Colony and Nation, volume 2, The Twentieth Century: Modernism and Aboriginality (Craftsman House, Sydney, 2002); The Architecture of Aftermath (University of Chicago Press, 2006) and What is Contemporary Art? (University of Chicago Press, 2009). He is editor of many others including In Visible Touch: Modernism and Masculinity (Power Publications and the University of Chicago Press, 1997), First People, Second Chance: The Humanities and Aboriginal Australia (Australian Academy of the Humanities, 1999), Impossible Presence: Surface and Screen in the Photogenic Era (Power Publications and the University of Chicago Press, 2001), with Paul Patton, Jacques Derrida, Deconstruction Engaged: The Sydney Seminars (Power Publications, 2001, Tokyo: Iwanami Shoten, 2005), Contemporary Art + Philanthropy (University of NSW Press, 2007), and Antinomies of Art and Culture: Modernity, postmodernity and contemporaneity (with Nancy Condee and Okwui Enwezor, Duke University Press, 2008). He is working on Contemporary Art of the World (Laurence King and Pearson/Prentice-Hall, 2011). A foundation Board member of the Museum of Contemporary Art, Sydney, he is currently a Board member of the Andy Warhol Museum, Pittsburgh. See www.terryesmith.net/web/
Robert Storr is an artist, critic, curator. In 2006 he was appointed Professor of Painting and Dean of the School of Art at Yale University. Mr. Storr received a B.A. from Swarthmore College in 1972 and an M.F.A. from the School of the Art Institute of Chicago in 1978. He was curator in the Department of Painting and Sculpture at the Museum of Modern Art, New York, from 1990 to 2002. In 2002 Mr. Storr was named the first Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University. Mr. Storr has taught at CUNY, the Bard Center for Curatorial Studies, Rhode Island School of Design, Tyler School of Art, New York Studio School, and Harvard University. He lectures frequently in this country and abroad. He has been a contributing editor at Art in America since 1981 and writes frequently for Artforum, Parkett, Art Press (Paris), and Frieze (London). He has also written numerous catalogs, articles, and books. Among his many honors he has received a Penny McCall Foundation Grant for painting, a Norton Family Foundation Curator Grant, and honorary doctorates from the School of the Art Institute of Chicago, the Maine College of Art and Lyme Academy. His awards include the American Chapter of the International Association of Art Critics, a special AICA award for Distinguished Contribution to the Field of Art Criticism, an ICI Agnes Gund Curatorial Award, and the Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History from the Smithsonian Institution’s Archives of American Art. In 2000 the French Ministry of Culture presented him with the medal of Chevalier des Arts et des Lettres. He is currently Consulting Curator of Modern and Contemporary Art at the Philadelphia Museum of Art. and in 2007 was chosen commissioner of the 2007 Venice Biennale, the first American invited to assume that position.
Jonathan Weinberg (Ph.D. Harvard 1990) is a painter and art historian. He is the author of Male Desire: the Homoerotic in American Art (2005); Fantastic Tales: the Photography of Nan Goldin (with Joyce Robinson, curator, 2005); Ambition and Love in Modern American Art (2001); and Speaking for Vice: Homosexuality in the Art of Charles Demuth, Marsden Hartley and the First-American Avant-Garde (1993). His reviews and articles have appeared in Art in America, Art Forum, The Art Journal, and The Yale Journal of Criticism. He is a Visiting Critic at Yale University Art School and the Rhode Island School of Design. He was an artist-in-residence at the Getty Research Center and the Addison Gallery of American Art. He is a recipient of a 2002 Guggenheim Fellowship and a 2009 grant from the Creative Capital/Andy Warhol Foundation. Weinberg’s paintings are in several public collections including the Metropolitan Museum of Art and the Montclair Art Museum. A one-man retrospective of his paintings was on view at the Leslie Lohman Foundation in New York in 2009. Along with Barbara Buhler Lynes, he co-curated Shared Intelligence: American Painting and the Photograph as well as co-edited the catalogue for the Georgia O’Keeffe Museum.
William C. Agee (b.1936) is the Evelyn Kranes Kossak Professor of Art History at Hunter College, City University of New York, where has taught since 1987. He was educated at Andover, Princeton, and Yale. He serves on the Board of Govenors at the Addison Gallery of American Art, at Andover. He was an Associate Curator at the Whitney Museum of American Art (1966-68) and Associate Curator of the Department of Painting and Sculpture at the Museum of Modern Art (1968-1970). He served as Director of the Pasadena Art Museum (1970-74) and Director of the Museum of Fine Arts, Houston (1974-1982). He has organized numerous exhibitions and written extensively in the field of modern American art, including studies on Synchromism, Stuart Davis, Patrick Henry Bruce, Morton Schamberg, James Daugherty, New York Dada, Arthur Dove, John Marin, The 1930s in America, Ralston Crawford, Fairfield Porter, Jacob Kainen, Barbara Morgan, Arnold Friedman, Burgoyne Diller, Sam Francis, Donald Judd, Ken Noland, Ray Parker, Al Jensen, and John Graham and His Circle 1927-1942. He is currently writing a book for Phaidon, entitled Modern Art in America 1908-1968: A Critical and Thematic History, with completion set for June, 2011. He was Visiting Scholar in Residence at the Georgia O’Keeffe Research Institute in the spring of 2011.
Whitney Chadwick is an art historian who works in the areas of Surrealism, gender studies and contemporary art. She has taught at San Francisco State University (from which she retired in 2009) and the Massachusetts Institute of Technology, and has been a visiting professor at Williams College, the University of Uppsala, Stanford University, Mass College of Art, the Univesity of Ulster at Belfast, and the University of California Berkeley, among other institutions. Her books include The Modern Woman Revisited: Paris Between the Wars (edited with Tirza True Latimer) (2003), Framed (a novel) (1998), Significant Others: Creativity and Intimate Partnership (edited with Isabelle de Courtivron) (1993), Women, Art, and Society (1990), and Women Artists and the Surrealist Movement (1985). She holds a PhD from The Pennsylvania State University and an Honorary Doctorate from the University of Gothenburg. She lives in San Francisco with her husband the painter Robert Bechtle.
Huey Copeland is Assistant Professor of Art History at Northwestern University. An alumnus of the Whitney Museum Independent Study Program, Copeland received his PhD in the History of Art from the University of California, Berkeley. His work focuses on modern and contemporary art with emphases on articulations of blackness in the visual field, theories of subject formation, twentieth-century sculpture, histories of slavery, and African-American cultural politics. His writing has appeared in Artforum, Art Journal, Callaloo, Qui Parle, and Representations, as well as in several international catalogues and critical volumes. Copeland's first book, Bound to Appear: Art, Slavery, and the Radical Imagination, was awarded an Andy Warhol/Creative Capital Foundation Arts Writers Grant in 2009 and is currently under contract with the University of Chicago Press. While in Cambridge at the W.E.B. Du Bois Institute for African and African-American Research during the Spring 2011 semester, he began work in earnest on his second book project, which explores the visual profile of the negress within Western representation from the 19th century to the present and from which his lecture is drawn.
Erika Doss is professor and chair in the Department of American Studies at the University of Notre Dame, where she teaches courses in American, modern, and contemporary art and cultural studies. She is the author of Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism (1991), Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities (1995), Elvis Culture: Fans, Faith, and Image (1999), Looking at Life Magazine (editor, 2001), and Twentieth-Century American Art (2002). Her book Memorial Mania: Public Feeling in America was published by the University of Chicago Press in 2010. Doss is also the editor of the "Culture America" series at the University Press of Kansas, and is on the editorial boards of Material Religion: The Journal of Objects, Art, and Belief, Memory Studies, and Public Art Dialogue. Her current research project, "Picturing Faith: American Modernism and Religion," considers what religion meant to certain mid-century American modernists.
Barkley L. Hendricks, a Philadelphia native, studied at the Pennsylvania Academy of the Fine Arts from 1963 to 1967. Hendricks subsequently graduated with a BFA and MFA in painting and photography from Yale University. He has exhibited widely in solo and group shows and his works are held in major museum collections. The recipient of many awards and fellowships, he lives in New London, Connecticut where he has been a Professor of Art at Connecticut College since 1972.
Patricia Hills received her B.A. degree from Stanford University, her M.A. from Hunter College, City University of New York, and PhD from the Institute of Fine Arts, New York University. Now Professor of Art History at Boston University, she was formerly a curator at the Whitney Museum of American Art and also served as Director of the B. U. Art Gallery. She has written books and exhibition catalogues on both 19th- and 20th-Century American Art, including the history of genre painting, feminist art, and art and politics. She received fellowships from the Guggenheim Foundation, the National Endowment for the Humanities, the Smithsonian American Art Museum, the W.E.B. Du Bois Institute for African and African American Research, and the Georgia O’Keeffe Museum Research Center. Her books include Alice Neel (1983), John Singer Sargent (1986), Stuart Davis (1995), and May Stevens (2005). She co-authored The Figurative Tradition and the Whitney Museum of American Art (1980) and Eastman Johnson: Painting America (1999). Modern Art in the USA: Issues and Controversies of the 20th Century (2001) brought together writings by artists, poets, and critics to narrate the history of art controversies. Painting Harlem Modern: The Art of Jacob Lawrence, was published by the University of California in 2010.
Michael Leja (Ph.D., Harvard) studies the visual arts in various media (painting, sculpture, film, photography, prints, illustrations) in the 19th and 20th centuries, primarily in the United States. His work is interdisciplinary and strives to understand visual artifacts in relation to contemporary cultural, social, political, and intellectual developments. He is especially interested in examining the interactions between works of art and particular audiences. 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.
Michael Lobel is Associate Professor of Art History and Director of the M.A. Program in Modern and Contemporary Art, Criticism and Theory at Purchase College, State University of New York. He received his PhD from Yale University in 1999, and has taught and lectured at Yale, Parsons School of Design, Bard College, and the Whitney Museum of American Art. He is the author of Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art (Yale University Press, 2002) and James Rosenquist: Pop Art, Politics and History in the 1960s (University of California Press, 2009). His writings have appeared in such publications as Art Journal, Artforum, Parkett, and Oxford Art Journal. He has been the recipient of fellowships from the Getty Research Institute, the Mellon Foundation, the Smithsonian American Art Museum, the National Endowment for the Humanities, and the Henry Luce Foundation/American Council of Learned Societies. In 2007 he curated an exhibition for the Neuberger Museum of Art entitled “Fugitive Artist: The Early Work of Richard Prince, 1974-77.” He is currently working on several projects, including a book on the early twentieth-century American artist John Sloan, the Ashcan School, and popular illustration.
Richard Meyer is Associate Professor of Art History and Fine Arts at the University of Southern California, where he also directs The Contemporary Project, a multi-year initiative to forge new dialogues between the academy and the art world, and the Visual Studies Graduate Certificate, an interdisciplinary program that reaches across the university’s faculty and curriculum. He is the author of Outlaw Representation: Censorship and Homosexuality in Twentieth-Century American Art which was awarded the Charles C. Eldredge Prize for Outstanding Scholarship in American Art from the Smithsonian American Art Museum. With Anthony W. Lee, he co-authored Weegee and Naked City and in collaboration with Catherine Lord, he recently completed Art and Queer Culture, 1885-present, an illustrated survey forthcoming from Phaidon Press. In 2009, he curated “Warhol’s Jews: Ten Portraits Reconsidered” for the Jewish Museum in New York and the Contemporary Jewish Museum in San Francisco. Meyer is now writing a short history of the idea of contemporary art in America beginning in the late 1920s titled What was Contemporary Art?
Elizabeth Hutton Turner was appointed Vice Provost for the Arts at the University of Virginia in January 2008, she is a University Professor of Art History specializing in early twentieth century modern art. Previously Professor Turner was Senior Curator of The Phillips Collection from 1985 to 2007. Dr. Turner currently serves on the advisory board of the Calder Foundation and is currently is working on a book about Alexander Calder. Dr. Turner received her undergraduate and graduate degrees from the University of Virginia. Before joining The Phillips collection she was a Smithsonian Fellow and later worked for the National Museum of American Art (where she was a scholarly consultant for Perpetual Motif, the 1989 Man Ray Retrospective) and the National Endowment for the Humanities.
At the Phillips Collection Turner directed more than twenty-five projects including a series of traveling exhibitions derived from the permanent collection that address the earliest chapters of the Phillips’s collecting history, including Men of Rebellion: The Eight and their Associates at The Phillips Collection (author, 1990), Duncan Phillips Collects: Paris between the Wars (author, 1991); Two Lives: Georgia O’Keeffe and Alfred Stieglitz (co-author, 1992); Jacob Lawrence: The Migration Series (editor, 1993; also includes video and children’s book); and In the American Grain: Dove, Hartley, Marin, O’Keeffe, and Stieglitz (author, 1995).
During her tenure at The Phillips Dr. Turner curated and directed significant large loan exhibitions, including Americans in Paris: Man Ray, Gerald Murphy, Stuart Davis, Alexander Calder (principle author, 1996); Arthur Dove: A Retrospective (co-author, 1997), and Georgia O’Keeffe: The Poetry of Things (author, 1999). She contributed an essay on “Bonnard, Matisse, and the School of Paris” to the definitive text on The Phillips Collection and Duncan Phillips entitled The Eye of Duncan Phillips: A Collection in the Making, and was co- project director and co-curator for the accompanying exhibition Renoir to Rothko: The Eye of Duncan Phillips (1999).
Dr. Turner’s essay "Over the Line: The Art and Life of Jacob Lawrence" (2000) was included in the Jacob Lawrence catalogue raisonné and, on the occasion of its publication she curated the nationally touring show of the same title, which opened at The Phillips Collection in 2001. She was the curator and project director and author of Pierre Bonnard: Early and Late (2002), a show co-organized by The Phillips with the Denver Art Museum. Dr. Turner was the project director for Calder/Miró (2004) an exhibition co-organized by the Phillips Collection with the Foundation Beyeler in Basel (Switzerland). Dr. Turner was co-curator and an essayist for the catalogue of Paul Klee and America, a touring exhibition which was organized by the Menil, and installed by Dr. Turner at The Phillips Collection in 2006. In 2009, Dr. Turner co-curated Geogia O’Keeffe: Abstraction, which was co-organized by The Whitney Museum of American Art, The Phillips Collection and The Georgia O’Keeffe Museum. Dr. Turner’s numerous scholarly publications also include an essay on the jeune fille americaine for Women in Dada (1998) and an essay on "Calder’s Animal Sketching" for When We Were Young (2006).
Terry Smith, FAHA, CIHA, is Andrew W. Mellon Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Pittsburgh, and a Visiting Professor in the Faculty of Architecture, University of Sydney. He is the 2009 winner of the Mather Award for art criticism conferred by the College Art Association (USA). During 2001-2002 he was a Getty Scholar at the Getty Research Institute, Los Angeles, and in 2007-8 the GlaxoSmithKlein Senior Fellow at the National Humanities Research Centre, Raleigh-Durham. From 1994-2001 he was Power Professor of Contemporary Art and Director of the Power Institute, Foundation for Art and Visual Culture, University of Sydney. He was a member of the Art & Language group (New York) and a founder of Union Media Services (Sydney). He is the author of a number of books, notably Making the Modern: Industry, Art and Design in America (University of Chicago Press, 1993; inaugural Georgia O’Keeffe Museum Book Prize 2009); Transformations in Australian Art, volume 1, The Nineteenth Century: Landscape, Colony and Nation, volume 2, The Twentieth Century: Modernism and Aboriginality (Craftsman House, Sydney, 2002); The Architecture of Aftermath (University of Chicago Press, 2006) and What is Contemporary Art? (University of Chicago Press, 2009). He is editor of many others including In Visible Touch: Modernism and Masculinity (Power Publications and the University of Chicago Press, 1997), First People, Second Chance: The Humanities and Aboriginal Australia (Australian Academy of the Humanities, 1999), Impossible Presence: Surface and Screen in the Photogenic Era (Power Publications and the University of Chicago Press, 2001), with Paul Patton, Jacques Derrida, Deconstruction Engaged: The Sydney Seminars (Power Publications, 2001, Tokyo: Iwanami Shoten, 2005), Contemporary Art + Philanthropy (University of NSW Press, 2007), and Antinomies of Art and Culture: Modernity, postmodernity and contemporaneity (with Nancy Condee and Okwui Enwezor, Duke University Press, 2008). He is working on Contemporary Art of the World (Laurence King and Pearson/Prentice-Hall, 2011). A foundation Board member of the Museum of Contemporary Art, Sydney, he is currently a Board member of the Andy Warhol Museum, Pittsburgh. See www.terryesmith.net/web/
Robert Storr is an artist, critic, curator. In 2006 he was appointed Professor of Painting and Dean of the School of Art at Yale University. Mr. Storr received a B.A. from Swarthmore College in 1972 and an M.F.A. from the School of the Art Institute of Chicago in 1978. He was curator in the Department of Painting and Sculpture at the Museum of Modern Art, New York, from 1990 to 2002. In 2002 Mr. Storr was named the first Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University. Mr. Storr has taught at CUNY, the Bard Center for Curatorial Studies, Rhode Island School of Design, Tyler School of Art, New York Studio School, and Harvard University. He lectures frequently in this country and abroad. He has been a contributing editor at Art in America since 1981 and writes frequently for Artforum, Parkett, Art Press (Paris), and Frieze (London). He has also written numerous catalogs, articles, and books. Among his many honors he has received a Penny McCall Foundation Grant for painting, a Norton Family Foundation Curator Grant, and honorary doctorates from the School of the Art Institute of Chicago, the Maine College of Art and Lyme Academy. His awards include the American Chapter of the International Association of Art Critics, a special AICA award for Distinguished Contribution to the Field of Art Criticism, an ICI Agnes Gund Curatorial Award, and the Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History from the Smithsonian Institution’s Archives of American Art. In 2000 the French Ministry of Culture presented him with the medal of Chevalier des Arts et des Lettres. He is currently Consulting Curator of Modern and Contemporary Art at the Philadelphia Museum of Art. and in 2007 was chosen commissioner of the 2007 Venice Biennale, the first American invited to assume that position.
Jonathan Weinberg (Ph.D. Harvard 1990) is a painter and art historian. He is the author of Male Desire: the Homoerotic in American Art (2005); Fantastic Tales: the Photography of Nan Goldin (with Joyce Robinson, curator, 2005); Ambition and Love in Modern American Art (2001); and Speaking for Vice: Homosexuality in the Art of Charles Demuth, Marsden Hartley and the First-American Avant-Garde (1993). His reviews and articles have appeared in Art in America, Art Forum, The Art Journal, and The Yale Journal of Criticism. He is a Visiting Critic at Yale University Art School and the Rhode Island School of Design. He was an artist-in-residence at the Getty Research Center and the Addison Gallery of American Art. He is a recipient of a 2002 Guggenheim Fellowship and a 2009 grant from the Creative Capital/Andy Warhol Foundation. Weinberg’s paintings are in several public collections including the Metropolitan Museum of Art and the Montclair Art Museum. A one-man retrospective of his paintings was on view at the Leslie Lohman Foundation in New York in 2009. Along with Barbara Buhler Lynes, he co-curated Shared Intelligence: American Painting and the Photograph as well as co-edited the catalogue for the Georgia O’Keeffe Museum.
