Bill Anthes: Native Moderns
A member of the Art Field Group at Pitzer College and of the Joint Art History Program of the Claremont Colleges (with Pomona College and Scripps College), Bill Anthes earned a B.F.A. and an M.A. in Art History from the University of Colorado, and a Ph.D. in American Studies from the University of Minnesota. He teaches courses and writes about art history and theory with an emphasis on contemporary art in global context, photography, and Native North American art and visual culture.
His first book, Native Moderns: American Indian Painting, 1940-1960, was published by Duke University Press in 2006. His essays and reviews have been published in the American Indian Quarterly, Art Papers, caareviews, Great Plains Quarterly, Journal of the West, New Mexico Historical Review, Number: An Independent Journal of the Arts, and Visual Anthropology Review. He is co-author, with Rebekah Modrak, of Reframing Photography: Theory and Practice (Routledge, 2010). He is currently writing the first monograph on the career of the Cheyenne-Arapaho contemporary artist, Hock E Aye Vi Edgar Heap of Birds.
His fellowships and awards include a Residential Fellowship at the Georgia O’Keeffe Museum Research Center in Santa Fe, New Mexico (2003-2004); a Postdoctoral Fellowship at the Center for the Arts in Society at Carnegie Mellon University in Pittsburgh, Pennsylvania (2005-2006); and a Visiting Fellowship in Theorizing Cultural Heritage, a program supported by the Rockefeller Foundation and housed at the Smithsonian Center for Folklife and Cultural Heritage in Washington, D.C. (2007); a Graves Award for Outstanding Accomplishment in Actual Teaching in the Humanities (2008); and a Creative Capital/Warhol Foundation Arts Writers Grant (2009).
His first book, Native Moderns: American Indian Painting, 1940-1960, was published by Duke University Press in 2006. His essays and reviews have been published in the American Indian Quarterly, Art Papers, caareviews, Great Plains Quarterly, Journal of the West, New Mexico Historical Review, Number: An Independent Journal of the Arts, and Visual Anthropology Review. He is co-author, with Rebekah Modrak, of Reframing Photography: Theory and Practice (Routledge, 2010). He is currently writing the first monograph on the career of the Cheyenne-Arapaho contemporary artist, Hock E Aye Vi Edgar Heap of Birds.
His fellowships and awards include a Residential Fellowship at the Georgia O’Keeffe Museum Research Center in Santa Fe, New Mexico (2003-2004); a Postdoctoral Fellowship at the Center for the Arts in Society at Carnegie Mellon University in Pittsburgh, Pennsylvania (2005-2006); and a Visiting Fellowship in Theorizing Cultural Heritage, a program supported by the Rockefeller Foundation and housed at the Smithsonian Center for Folklife and Cultural Heritage in Washington, D.C. (2007); a Graves Award for Outstanding Accomplishment in Actual Teaching in the Humanities (2008); and a Creative Capital/Warhol Foundation Arts Writers Grant (2009).
Pat Hills: Masks and Masking in the Work of Jacob Lawrence
Patricia Hills, Professor of Art History at Boston University, was formerly a curator at the Whitney Museum of American Art and also Director of the B. U. Art Gallery. She has written books and exhibition catalogues on both 19th- and 20th-Century American Art, including the social history of genre painting, feminist art, and art and politics. Her books include Alice Neel (1983), John Singer Sargent (1986), Stuart Davis (1995), May Stevens (2005), and Painting Harlem Modern: The Art of Jacob Lawrence.
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. In 2010 the College Art Association gave her the award for “Distinguished Teaching of Art History.”
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. In 2010 the College Art Association gave her the award for “Distinguished Teaching of Art History.”
Susan Richmond: Pretty Vulgar - Lynda Benglis' Aesthetic Transgressions
An assistant professor of art history at Georgia State University, Susan Richmond received an M.A. and Ph.D. in Art History from the University of Texas at Austin and a B.A. in Studio Art/Art History from Wellesley College. Her research focuses on contemporary feminist art, theory and visual culture. Her essays have appeared in Camera Obscura, Feminist Theory, Art Papers, and n.paradoxa. She was a fellow at the O'Keeffe Research Center in summer 2009. She is completing a book entitled The Art of Lynda Benglis in Context.
Meredith Davis: Trompe l'Oeil: History, Dualism, Modernism and the Changes of Times
Christina Cogdell: Streamlining and Eugenics
Christina Cogdell is Associate Professor of Art, Architecture & Design History in the Design Program at the University of California at Davis. She received her Ph.D. in Art History from the University of Texas at Austin in 2001, her M.A. in American Studies from the University of Notre Dame in 1994, and her B.A. in American Studies from UT Austin in 1991. She is the author of Eugenic Design: Streamlining America in the 1930s (2004, 2010), winner of the 2006 Edelstein Prize for outstanding book on the history of technology, and is co-editor of the anthology Popular Eugenics: National Efficiency and American Mass Culture in the 1930s (2006). Her work has been included in Art, Sex, and Eugenics: Corpus Delecti (eds. Fae Brauer and Anthea Callen) and published in Design and Culture, Volume, Design Issues and American Quarterly.
She has received fellowships from the Mellon Foundation (New Directions), the American Council of Learned Societies (Charles Ryskamp & Henry Luce), the Canadian Centre for Architecture in Montreal, the Penn Humanities Forum at the University of Pennsylvania, the Wolfsonian Design Museum at Florida International University, the Georgia O'Keeffe Museum Research Center for the Study of American Modernism in Santa Fe, and the American Philosophical Society in Philadelphia.
She is currently conducting research on her new book project on today’s “generative architecture” in relation to recent scientific theories of self-organization, emergence and the evolution of complex adaptive systems. One goal of this research is to contribute to our understanding the history of the use of computers in architecture, a topic that is only now beginning to receive attention.
She has received fellowships from the Mellon Foundation (New Directions), the American Council of Learned Societies (Charles Ryskamp & Henry Luce), the Canadian Centre for Architecture in Montreal, the Penn Humanities Forum at the University of Pennsylvania, the Wolfsonian Design Museum at Florida International University, the Georgia O'Keeffe Museum Research Center for the Study of American Modernism in Santa Fe, and the American Philosophical Society in Philadelphia.
She is currently conducting research on her new book project on today’s “generative architecture” in relation to recent scientific theories of self-organization, emergence and the evolution of complex adaptive systems. One goal of this research is to contribute to our understanding the history of the use of computers in architecture, a topic that is only now beginning to receive attention.
