Elizabeth West Hutchinson ASSISTANT PROFESSOR, DEPARTMENT OF ART HISTORY, BARNARD COLLEGE, COLUMBIA UNIVERSITY Ph.D.: Stanford University Project: "The Indian Craze: Primitivism, Modernism, and Transculturation in America, 1890-1914" Dates: November-June 2005 Elizabeth Hutchinson’s project examines the "Indian Craze": a passion for collecting, displaying, and emulating Native American art that lasted from the late 19th century through the years of World War I. During this time, Native handicrafts were exhibited by museums, art societies, department stores, and International Expositions and used extensively in mainstream art schools and design manuals. Examining the contributions of both Anglo and Native artists, critics and theorists, Hutchinson argues that the "Indian Craze" was a transcultural phenomenon that allowed members of both groups to develop modern approaches to art and cultural identity; while Anglo artists saw Native art as the basis of a national school of modernism, Indian people used this interest to agitate for greater acceptance of their culture.
Carrie Lambert ASSISTANT PROFESSOR, DEPARTMENT OF ART HISTORY, NORTHWESTERN UNIVERSITY Ph.D.: Stanford University Project: "The Seeing Difficulty": Yvonne Rainer and American Art in the 1960’s Dates: July-August 2005 Carrie Lambert will be working on "The Seeing Difficulty": Yvonne Rainer and American Art in the 1960s, which will be the first book on the performance career of the influential choreographer, artist, and filmmaker Yvonne Rainer. By tracing through the 1960s Rainer's use of the human body to revise conventions of spectatorship--from the early days of Judson Dance Theater, through Minimalism, to the political and feminist art of the early 1970s--the book will offer a new history of American art’s orientation toward the viewer in this watershed period.
Emily Ballew Neff CURATOR AMERICAN PAINTING AND SCULPTURE, MUSEUM OF FINE ARTS, HOUSTON Ph.D.: University of Texas at Austin Project: "The Modern West: American Landscapes, 1890-1950" Dates: November 1-19, July 5-August 12 Emily Ballew Neff is curator of American painting and sculpture at the Museum of Fine Arts, Houston. At the O'Keeffe Museum and Research Center, Neff will continue to develop, conduct research, and continue writing the catalogue for an exhibition project titled "The Modern West: American Landscapes, 1890-1950." This exhibition will explore the role played by the West in the development of American modernism through 110 paintings, watercolors, photographs and, where thematically and aesthetically relevant, American Indian art.
Kristin Ann Schwain ASSISTANT PROFESSOR, DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY, UNIVERSITY OF MISSOURI-COLUMBIA Ph.D.: Stanford University Project: "Signs of Grace: Religious Experience, Visual Practice, and Modernist American Art" Dates: September 2004-July 2005 "Signs of Grace: Religious Experience, Visual Practice, and Modernist American Art" examines the early history of modern art to excavate the central role religion played in its development. It shows the manifold ways four American artists - Henry Ossawa Tanner, F. Holland Day. Abbott Handerson Thayer, and Thomas Eakins - turned to religious beliefs and practices to construct modern aesthetic experience. Moreover, it explores the social implications of modernist ways of seeing on strategies of African-American uplift, new formulations of gender and sexuality, models of cultural authority, and on social relations in turn-of-the-century America more generally.
Isabelle Loring Wallace ASSISTANT PROFESSOR OF MODERN AND CONTEMPORARY ART, DEPARTMENT OF THE HISTORY OF ART, BRYN MAWR COLLEGE Ph.D.: Bryn Mawr College Project: "Signification and Subject: The Art of Jasper Johns" Dates: June-August 2005 This project will consider work produced by contemporary American painter Jasper Johns, linking his work to broader philosophical questions concerning the nature of authorship, signification and the relationship between representation and mortality. An attempt is also made to situate Johns' work within its proper historical and cultural context, bearing in mind that the artist’s career begins at a moment that witnesses the emergence of postmodernism, as well as the not unrelated discovery of DNA in 1953.