About the Authors

Abstract

Previous article FreeAbout the AuthorsPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreNadya Bair is a historian of photography and the press. She holds a Ph.D. in art history from the University of Southern California. Her book manuscript, “The Decisive Network: Magnum Photos and the Postwar Image Market,” examines the role of photo agencies in shaping postwar visual culture around the world.Ross Barrett is an assistant professor of art history at Boston University. The author of Rendering Violence: Riots, Strikes, and Upheaval in Nineteenth-Century American Art (2014), he is currently at work on a book, tentatively titled “Speculative Landscapes: American Art and Real Estate in the Long Nineteenth Century,” that examines five American artists who painted and speculated on land.Alan C. Braddock is the Ralph H. Wark Associate Professor of Art History and American Studies at the College of William and Mary, the author of Thomas Eakins and the Cultures of Modernity (2009), and co-editor of A Keener Perception: Ecocritical Studies in American Art History (2009, with Christoph Irmscher) and A Greene Country Towne: Philadelphia’s Ecology in the Cultural Imagination (2016, with Laura Turner Igoe). He is currently working on Nature’s Nation: American Art and Environment (2018, with Karl Kusserow), Ecocritical Art History: Theory and Practice (2018), and “Gun Vision: The Ballistic Imagination in American Art.”Peter John Brownlee is the curator at the Terra Foundation for American Art in Chicago. He co-organized the exhibition Picturing the Americas: Landscape Painting from Tierra del Fuego to the Arctic, which was awarded First Place for Best Exhibition of 2015 by the Association of Art Museum Curators.Maggie Cao is the David G. Frey Assistant Professor of art history at the University of North Carolina at Chapel Hill. She received her Ph.D. from Harvard University in 2014 and did her postdoctoral work at Columbia University’s Society of Fellows. Her first book, The End of Landscape in Nineteenth-Century America, is forthcoming from the University of California Press.Huey Copeland is the associate dean for academic affairs in the Graduate School and an associate professor of art history at Northwestern University. He is the author of Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America (2013).David Peters Corbett is a professor of American art at the Courtauld Institute, where he is also the director of the Centre for American Art, partly funded by the Terra Foundation for American Art. He has published widely on American and British art between 1850 and 1950 and is currently writing a book on paintings of American urban life, 1880–1940.John Davis spent twenty-five years on the faculty of Smith College, most recently as the Alice Pratt Brown Professor of Art. In July 2017 he will join the Smithsonian Institution as the Provost and Under Secretary for Museums and Research. With Michael Leja, he is working on a book introducing American art history to international audiences.Rachael Z. DeLue is a 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).Melody Barnett Deusner is an assistant professor of art history at Indiana University. In researching the visual and material culture of the late nineteenth century, she focuses primarily on patronage relationships, institutional formations, and the afterlives of objects. Her first book will explore intersections between art-making, social and political networking, and systems management in the transatlantic sphere at the turn of the twentieth century.Ellery E. Foutch is an assistant professor in the American Studies Program at Middlebury College, where she teaches classes on American art and material culture. She received her Ph.D. in the history of art from the University of Pennsylvania in 2011. Her recent articles include an exploration of patents for portable magic lantern projectors and illuminated, wearable technologies, and an analysis of glass ballot boxes and nineteenth-century notions of political transparency.Amelia Goerlitz is the fellowship and academic programs manager at the Smithsonian American Art Museum. She holds an M.A. in art history from the University of Texas at Austin, with an emphasis on Latin American art. She co-edited and wrote for East–West Interchanges in American Art: A Long and Tumultuous Relationship (2012) and contributed essays on Luis Camnitzer and José Luis Cuevas to Blanton Museum of Art: Latin American Collection (2006).Anne Collins Goodyear is the co-director of the Bowdoin College Museum of Art and specializes in modern and contemporary American art. She co-organized the exhibition This Is a Portrait If I Say So: Identity in American Art, 1912 to Today and the accompanying catalogue (2016). She is the president emerita of the College Art Association.Jennifer A. Greenhill is an associate professor of art history at the University of Southern California. She is the author of Playing It Straight: Art and Humor in the Gilded Age (2012) and a co-editor of A Companion to American Art (2015).Eleanor J. Harvey is the senior curator at the Smithsonian American Art Museum. She earned her Ph.D. in the history of art from Yale University. Her most recent project was The Civil War and American Art (2012), and she is currently researching the considerable impact of Alexander von Humboldt on American art and culture.Jennifer Jane Marshall, an associate professor of art history at the University of Minnesota, is the author of Machine Art, 1934 (2012), winner of the 2013 Robert Motherwell Book Award. She is currently writing a monograph on William Edmondson and the role of biography in art history, a project supported by a National Endowment for the Humanities grant.Leo G. Mazow is the Louise B. and J. Harwood Cochrane Curator of American Art at the Virginia Museum of Fine Arts. His book Thomas Hart Benton and the American Sound (2012) received the 2013 Charles C. Eldredge Prize for distinguished scholarship in American art. He is currently organizing the exhibition and accompanying publication Edward Hopper and the American Hotel.Angela Miller is a professor of American arts at Washington University in St. Louis. She is the author of The Empire of the Eye: Landscape Representations and American Cultural Politics, 1825–1875 (1993), and lead author, along with Janet C. Berlo, Jennifer L. Roberts, and Bryan J. Wolf, of American Encounters: Art, History, and Cultural Identity (2008), an integrated history of the arts from pre-conquest to the present. She is currently writing a book on gay artistic networks in New York City in the 1940s.Asma Naeem is an associate curator of prints, drawings, and media arts at the National Portrait Gallery. Her first book, Out of Earshot: Sound and Technology in American Art, 1847–1897, is forthcoming from the University of California Press, and her second project will examine American artistic responses to the Partition of India.Charmaine A. Nelson is a professor of art history at McGill University. She has made ground-breaking contributions to the fields of the visual culture of slavery, race and representation, and black Canadian studies. The most recent of her six books is titled Slavery, Geography, and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica (2016).Bibiana Obler is an associate professor of art history at George Washington University. Her first book, Intimate Collaborations: Kandinsky and Münter, Arp and Taeuber (2014) investigates the role of artist couples in the emergence of abstract art. Her second monograph, currently titled “Anti-Craft,” will examine the relation of art and craft in the late twentieth century.Jules David Prown, Paul Mellon Professor Emeritus of the History of Art, Yale University, is the author of John Singleton Copley (1966); American Painting: From Its Beginnings to the Armory Show (1969); The Architecture of the Yale Center for British Art (1977); and Art as Evidence: Writings on Art and Material Culture (2001); among other works. He served as the curator of American art, Yale University Art Gallery (1963–68) and director of the Yale Center for British Art, Yale University (1968–76), and was honored with the 1995 Distinguished Teaching of Art History Award and 2010 Distinguished Scholar Session by the College Art Association of America.Jennifer Raab is an assistant professor of the history of art at Yale University, where she teaches courses in American art and the history of photography. She is the author of Frederic Church: The Art and Science of Detail (2015) and is currently at work on a second book, “Relics of War,” which examines the status of photography in the years following the Civil War.Jennifer L. Roberts is the Elizabeth Cary Agassiz Professor of the Humanities at Harvard University. She is the author of books on Robert Smithson and Jasper Johns as well as Transporting Visions: The Movement of Images in Early America (2014), for which she received the Charles C. Eldredge Prize in 2017. She is currently at work on a book titled “The Matrix: Print as American Art.”Vanessa R. Schwartz is a professor of art history, history, and film at the University of Southern California, where she directs the Visual Studies Research Institute. She recently co-edited, with Jason Hill, Getting the Picture: The Visual Culture of the News (2015) and is completing a book, “Jet Age Aesthetics: The Glamour of Media in Motion.”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 (2013), and his essays have appeared in such journals as American Art, Art Bulletin, October, and the Oxford Art Journal.Cherise Smith is an associate professor of art history and African diaspora studies at the University of Texas at Austin. Her research has appeared in Art Journal and exposure and has been supported by a Getty Foundation Postdoctoral Fellowship and a Ford Foundation Diversity Postdoctoral Fellowship. She is the author of Enacting Others: Politics of Identity in Eleanor Antin, Nikki S. Lee, Adrian Piper, and Anna Deavere Smith (2011).Alex J. Taylor is an assistant professor and academic curator in the history of art and architecture at the University of Pittsburgh. From 2014 to 2016 he was the inaugural Terra Foundation Research Fellow in American Art at the Tate. His current book project is a history of corporate art patronage in the 1960s.Robin Veder is the new executive editor of American Art, formerly tenured associate professor of humanities, art history, and visual culture at Penn State Harrisburg. Her publications include The Living Line: Modern Art and the Economy of Energy (2015) and articles in Journal of the Society of Architectural Historians, American Art, Visual Resources, Journal of Victorian Culture, and Modernism/Modernity.Alan Wallach is the Ralph H. Wark Professor of Art and Art History and Professor of American Studies Emeritus at the College of William and Mary. His publications include essays on Thomas Cole, the Hudson River School, and art museums in the United States. In 2007 he was the recipient of the College Art Association’s Distinguished Teaching of Art History Award.ShiPu Wang is an associate professor of art history and founding faculty member of the Global Arts Studies Program at the University of California, Merced, and the author of Becoming American?: The Art and Identity Crisis of Yasuo Kuniyoshi (2011). He was a Terra Foundation for American Art Senior Fellow at the Smithsonian American Art Museum in 2014 and has completed his second book, The Other American Moderns: Matsura, Ishigaki, Noda, Hayakawa (2017).Sylvia Yount is the Lawrence A. Fleischman Curator in Charge of the American Wing at the Metropolitan Museum of Art, where she is overseeing a rethinking of the collections and installations. Her latest publication is “Thomas Eakins’ Miss Amelia Van Buren: A Portrait of America’s Gilded Age,” in From Hopper to Rothko: America’s Road to Modern Art (2017). Previous article DetailsFiguresReferencesCited by American Art Volume 31, Number 2Summer 2017 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/694160 Views: 494Total views on this site © 2017 by The Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.