Shifting Terrain Conference Speakers' Bios and Abstracts
Ellie Armon Azoulay
Ellie Armon Azoulay, born in 1987 in Paris, studied history and philosophy at Tel Aviv University and is currently completing her M.Res. in Exhibition Studies at University of the Arts London, Central Saint Martin. Since 2009 she has been an art correspondent for Haaretz newspaper and a freelance writer for various art magazines and publications including Artpress, Flash Art, Aperture, Camera Austria, and Artslant. At present, she is working on a research project concerning decolonizing practices in the public sphere within artistic and cultural contexts. She is currently based out of Paris and recently published Local Wind, a collection of essays about catalogues and books published by Israeli artists in the 1970s and 1980s (Tel Aviv: Public School Editions, 2014). In September 2015 she began a research, curatorial, and production internship at the Bétonsalon Centre for Art and Research in Paris.
Nadya Bair is a doctoral candidate in art history at the University of Southern California (USC), specializing in the history of photography and twentieth-century art; she also holds a Graduate Certificate from the Visual Studies Research Institute at USC. Her dissertation, “The Decisive Network: Magnum Photos and the Art of Collaboration in Postwar Photojournalism, 1947–1962,” examines how an international group of war photographers partnered with photo editors, publishers, and curators to expand the aesthetic, geographic, and entrepreneurial boundaries of press photography in the wake of World War II. She is a recipient of the ACLS-Mellon Dissertation Completion Fellowship for 2015–2016.
Estelle Blaschke (M.A., History of Art, Humboldt-Universität zu Berlin; Ph.D., History, École des Hautes Études en Sciences Sociales/Paris I Panthéon-Sorbonne) is a postdoctoral researcher funded by the Swiss National Science Foundation at the Université de Lausanne. From 2009 to 2011 and in 2014 she was a fellow at the Max Planck Institute for the History of Science in Berlin. Her doctoral dissertation, “Photography and the Commodification of Images: From the Bettmann Archive to Corbis (1924–2010),” was awarded the 2012 Research Prize by the German Photographic Society. In 2012 and 2013, she co-curated the group exhibition and research project Double Bound Economies: Reading an East-German Photo Archive 1967–1990, which toured in Leipzig, Geneva, Zurich, and Berlin.
Emily Casey is a doctoral candidate in the history of art at the University of Delaware. Her dissertation, “Waterscapes: Representing the Sea in the American Imagination, 1760–1815,” explores how eighteenth-century British Americans visualized their place in a global world through representations of the sea in art, literature, and material culture. Emily has received numerous grants and fellowships to support her research from the University of Delaware, the Center for Advanced Study in the Visual Arts, the Peabody-Essex Museum, and the National Maritime Museum in Greenwich, London. She is the 2015–2016 Terra Foundation Predoctoral Fellow in American Art at the Smithsonian American Art Museum. Emily received her B.A. from Smith College. In addition to her research, she has worked at the Smith College Museum of Art, Winterthur Museum, and the Pennsylvania Academy of the Fine Arts.
Melody Barnett Deusner
Melody Barnett Deusner is Assistant Professor of Art History at Indiana University, Bloomington, where she teaches nineteenth- and early twentieth-century American art and its circulation through social, economic, and technological networks. Deusner holds a Ph.D. and an M.A. in art history from the University of Delaware, and was the 2010–2012 Terra Foundation Postdoctoral Fellow in American Art at Northwestern University. She will be a Fulbright Scholar at the University of Birmingham (U.K.) from January through July 2016. Her published essays include “Whistler, Aestheticism, and the Networked World,” in Palaces of Art: Whistler and the Art Worlds of Aestheticism (Smithsonian Institution Scholarly Press, 2013), and “‘In seen and unseen places’: The Henry G. Marquand House and Collections in England and America,” in “Anglo-American: Artistic Exchange between Britain and the USA”, a special issue of Art History (September 2011). Her current book project is entitled A Network of Associations: Aesthetic Painting and Its Patrons in England and America.
Jacqueline Francis teaches U.S. art history at California College of the Arts and researches critical questions around minority identities and identifications in visual culture. She is the author of Making Race: Modernism and “Racial Art” in America (2012) and co-editor of Romare Bearden: American Modernist (2011). Her essays have been published in The Image of the Black in Western Art (Volume V), The Encyclopedia of Aesthetics, and American Art. From 2012–2014, Francis was on the Executive Committee of the College Art Association. She has lectured at Harvard University, King’s College-London, the National Gallery of Art, and at scholarly conferences in the United States, Europe, the Caribbean, and Japan. She is presently a board member of San Francisco’s Queer Cultural Center, a resource for international LGBT creative expression. She also serves on the advisory boards of Panorama: Art and Visual Culture of the United States and Third Text: Critical Perspectives on Contemporary Art and Culture.
Rita Gonzalez is Curator of Contemporary Art at the Los Angeles County Museum of Art, where she curated Phantom Sightings: Art After the Chicano Movement, Asco: Elite of the Obscure (part of the Getty’s 2011 Pacific Standard Time festival), Lost Line: Contemporary Art from the Collection, and Agnes Varda in Californialand, among other exhibitions and programs. Her curatorial collaboration with filmmaker Jesse Lerner, Mexperimental Cinema, was the first survey of Mexican experimental film and video. It traveled to museums and film festivals internationally and resulted in the first bilingual publication on the subject. Gonzalez has written for media and art journals including Wide Angle, Poliester, COIL, Signs, and RIM. Her essays have appeared in Still Moving: Between Cinema and Photography (Duke Univ. Press, 2008), Recent Pasts: Art in Southern California from the 90s to Now (JRP|Ringier Zurich, 2005), and California Video: Artists and Histories (Getty Publications, 2008).
Jessica L. Horton
Jessica L. Horton is Assistant Professor of Art History at the University of Delaware. Her essays on modern and contemporary art, Native American politics, globalization, and ecology have appeared in A Companion to American Art, Parkett, Shapeshifting: Transformations in Native American Art, and Fritz Scholder: Super Indian, as well as in the journals American Art, Journal of Transnational American Studies, and Third Text. She has held fellowships at the Getty Research Institute, the Smithsonian American Art Museum/National Museum of the American Indian, the Center for Advanced Study in the Visual Arts, the Terra Foundation for American Art, and the Social Science Research Council. Her book, Places to Stand: Native American Modernisms on an Undivided Earth, forthcoming from Duke University Press, concerns artists who reformulate modernity as a shared ground in the wake of the American Indian Movement.
Yuko Kikuchi is a Reader in Art and Design History at TrAIN (Research Center for Transnational Art, Identity and Nation) and the Camberwell, Chelsea, and Wimbledon (CCW) graduate school at University of the Arts London. Her key works include Japanese Modernisation and Mingei Theory: Cultural Nationalism and Oriental Orientalism (RoutledgeCurzon, 2004), Refracted Modernity: Visual Culture and Identity in Colonial Taiwan (Univ. of Hawai’i Press, 2007), and two special issues: “Transnational Modern Design Histories in East Asia,” Journal of Design History 27, no. 4 (2014) and “Negotiating Histories: Traditions in Modern and Contemporary Asia-Pacific Art,” World Art 5, no. 1 (2015). Dr. Kikuchi will convene the International Conference on Design History and Studies in Taipei in 2016, and is editing the Critical Reader of East Asian Design. As the 2015–2016 Terra Foundation Senior Fellow at the Smithsonian American Art Museum, she is writing a book about Russel Wright and American intervention in Asian design during the Cold War.
Johanne Lamoureux is a professor in the Department of Art History and Film Studies at the Université de Montréal. She is also currently the director of the Department of Studies and Research at the Institut national d’histoire de l’art (Paris). Lamoureux has authored several books and numerous articles; has served as chief editor of the journal Intermédialités (2007–2009); and has acted as a freelance curator for the National Gallery of Canada (2005–2008) and the Musée national des beaux-arts du Québec (1998–2003). Her fields of expertise are museum studies, contemporary art, and historiography. Her most recent research project regroups museum curators and academic scholars and investigates new uses of art museum collections. The project is funded by the Social Sciences and Humanities Research Council of Canada.
Ethan W. Lasser
Ethan W. Lasser is the Theodore E. Stebbins, Jr. Curator of American Art and the Head of the Division of European and American Art at the Harvard Art Museums. Lasser’s curatorial and scholarly work focuses on questions of art-making across multiple media. His recent exhibitions and publications have considered the relationship between contemporary artists and their tools; the craft of industrial production; and the ideas about making at stake in John Singleton Copley’s iconic portrait of the Boston silversmith Paul Revere. Lasser’s forthcoming exhibition, From the Philosophy Chamber: Harvard’s Lost Collection, 1766 to 1820, explores the wide-ranging collection of portraits, prints, scientific instruments, and Native American artifacts that Harvard College amassed in the late eighteenth century. Lasser holds a B.A. from Williams College and a Ph.D. in the history of art from Yale University.
Jennifer Jane Marshall
Jennifer Jane Marshall (Ph.D., UCLA, 2005) is Associate Professor of North American Art at the University of Minnesota, Twin Cities. Her book, Machine Art, 1934 (Univ. of Chicago Press, 2012), received the Dedalus Foundation’s 2013 Robert Motherwell Book Award. She has published articles related to folk art, direct carving, the backlash against Rodin, and Procter & Gamble’s soap carving contests. Prior to arriving at Minnesota, Professor Marshall served as Acting Assistant Professor at Stanford University, and held a postdoctoral fellowship at the American Academy of Arts and Sciences. Her current book project, William Edmondson: Life and Work, has been funded by a fellowship from the National Endowment for the Humanities.
Claudia Mattos-Avolese is Professor of Art History at the Universidade Estadual de Campinas (UNICAMP), President of the Brazilian Committee of Art History (CBHA), and a member of the Comité international d’histoire de l’art (CIHA). She holds a Ph.D. from the Freie Universität Berlin, and publishes primarily on nineteenth- and twentieth-century Brazilian art and art theory. Mattos-Avolese is currently preparing a book on art and ecology in Brazil and editing another on Brazilian art history for Getty Publications. Her latest essays include “Geography, Art Theory, and New Perspectives for an Inclusive Art History,” Art Bulletin (October 2014), and “Existe-t-il un art brésilien?” Perspective 2 (2013). She recently co-organized the conference “New Worlds: Frontiers, Inclusion, Utopias,” which took place in Rio de Janeiro, August 25–29, 2015.
Asma Naeem (Ph.D., University of Maryland, 2010) is Associate Curator of Prints and Drawings and Time-Based Media Art at the Smithsonian’s National Portrait Gallery. Naeem’s research interests focus on issues of power, identity, and technology, and range from the eighteenth century to the present. She has published articles in American Quarterly, American Art, and the Chicago Art Journal. Her master’s thesis focused on the work of diasporic Muslim artists Shirin Neshat and Shahzia Sikander. She is currently preparing her dissertation, “‘The Imagery of the Ear’: Listening, Sound, and Sound Technologies in American Art, 1848–1898,” for publication. The manuscript examines the work of Winslow Homer, Thomas Eakins, and Thomas Wilmer Dewing against the backdrop of technological history from the Civil War through the Gilded Age. At the National Portrait Gallery, she is currently organizing a show on the work of Los Angeles–based artist Don Bachardy and another entitled Black Out: Silhouettes Then and Now.
Davide Nerini is a first-year Ph.D. student at the Université de Lausanne’s Center of the History of Culture, where he investigates the interactions between photography and the field of library and information science during the first half of the twentieth century. His dissertation is part of a broader collaborative research project entitled “Encapsulating World Culture: The Rise and the Imaginary of Microfilm (1920s to 1950s),” which focuses on the understanding of photography as a medium of diffusion of visual and textual information. After earning a bachelor’s degree in Film Studies from the Freie Universität Berlin and the Université de Lausanne, Nerini received his master’s degree in art history from the Université de Lausanne in 2014, where he wrote his thesis on the work of the art historian, librarian, and photographer Paul Vanderbilt. During the same year, he worked as a research fellow at the Swiss Institute for Art Research based in Zurich and Lausanne.
Elisabeth Otto is a Ph.D. candidate in art history at the Université de Montréal, where she is currently working on her dissertation, “Art Histories of Unlearning: Emily Carr (1871–1945) and Gabriele Münter (1877–1962).” After finishing her M.A. in Business Economics, Otto studied art history, archaeology, and philosophy in Regensburg, Munich, and Montréal. In the first year of her Ph.D., Otto was a Fellow in Canadian art at the National Gallery of Canada, Ottawa. Since 2014, she has been a teaching assistant in the Université de Montréal’s Department of Art History and a research assistant in the Department of Comparative Literature in collaboration with the Warburg Institute in London. Besides her research on women artists and twentieth-century Primitivism, she is interested in the interrelations between European and North American art and art histories, in particular the mobility of artists, scholars, and aesthetic concepts in the late nineteenth and early twentieth centuries.
Sandra Salles holds a master’s degree in Social Anthropology and Ethnology from the École des Hautes Études en Sciences Sociales (EHESS), having also specialized in Latin American Studies at the Université de la Sorbonne Nouvelle–Paris III. She has a B.A. in history, obtained at the Universidade Federal de Juiz de Fora, Brazil. She is a first year Ph.D. student in the history of art (non-European Art program) at the Universidade Estadual de Campinas (UNICAMP), where her research focuses on contemporary African and African American art. She is investigating the conception and reception of the exhibition The Short Century: Independence and Liberation Movements in Africa 1945–1994, held at the Museum of Contemporary Art Chicago and at the Museum of Modern Art PS1 in 2002 and organized by Okwui Enwezor, a U.S.-based Nigerian curator. Salles has been working at the Museu Afro Brasil in São Paulo since 2010, developing projects and conducting research alongside the curatorial team.
Paul Chaat Smith
Paul Chaat Smith is a Comanche author, essayist, and curator. His work is focused on the contemporary landscape of American Indian politics and culture. He is a co-author (with Robert Warrior) of Like a Hurricane: The Indian Movement from Alcatraz to Wounded Knee (New Press, 1996), and the author of Everything You Know about Indians Is Wrong (Univ. of Minnesota Press, 2009). Smith joined the National Museum of the American Indian in 2001. His projects include James Luna’s Emendatio at the 2005 Venice Biennial, Fritz Scholder: Indian/Not Indian, and Brian Jungen: Strange Comfort. Although he spends most of his time crafting game-changing exhibitions and texts, he also enjoys reading obsessively about the early days of the Soviet space program, watching massive amounts of televised sports, and writing about himself in the third person. Like Kobe Bryant and LeBron James, he turned pro right after high school and has no college or university degrees.
Veerle Thielemans is the European Academic Program Director at the Terra Foundation for American Art. Her major responsibility is the oversight of the foundation’s academic initiatives and partnerships in American art history, including teaching and research projects, international symposia, and seminars in Europe. Since 2001, she has been directing the Terra Summer Residency in Giverny, a two-month research program for emerging artists and doctoral fellows in American art and visual culture history. She is also actively engaged in creating an international discussion forum on American art history at the Terra Foundation’s resource center in Paris. Born in Brussels, Thielemans completed a degree in art history at the University of Louvain to pursue further studies at the École des Hautes Études en Sciences Sociales (EHESS) in Paris, followed by a doctoral degree at Johns Hopkins University. She taught courses in French nineteenth-century art in American study-abroad programs in Paris, such as the Columbia University Paris Programs.
Fred Turner is Professor of Communication and, by courtesy, of Art and Art History at Stanford University. He has written extensively about art, technology, and American culture since World War II. He is the author of several books, including From Counterculture to Cyberculture: Stewart Brand, the Whole Earth Network, and the Rise of Digital Utopianism and, most recently, its prequel, The Democratic Surround: Multimedia and American Liberalism from World War II to the Psychedelic Sixties. You can find his papers and much more at http://fredturner.stanford.edu.
Jennifer Van Horn
Jennifer Van Horn specializes in the fields of early American visual and material culture. She is Assistant Professor of Art History at George Mason University and also teaches in the Smithsonian-Mason M.A. Program in the History of Decorative Arts. In 2015–2016 she will be a postdoctoral fellow at the Smithsonian National Portrait Gallery, investigating the role of slaves and slavery in shaping early American portraiture. Her first book, Civility in a New World: Material Culture and the Making of America, will be published by the Omohundro Institute (Univ. of North Carolina Press) in 2016. She has an article forthcoming in the Winter 2016 issue of the journal Early American Studieson George Washington’s dentures, and has also published articles in Winterthur Portfolio and American Art.