The Space Between: Literature and Culture 1914-1945

2018 Contributors

WILL ATKIN was awarded his doctorate in 2017 from The Courtauld Institute of Art in London for his PhD thesis Latent Possibilities: Theories and Practices of Magic in Surrealist Discourse on the Object. After working as an Associate Lecturer at The Courtauld Institute, he now lectures on nineteenth- and twentieth-century art history at The University of Nottingham. [return to article]

ROBIN BLYN is Professor of English at the University of West Florida.  She has published essays on twentieth century and contemporary literature and culture in journals such as Modernism/modernity, Modern Fiction Studies, Twentieth-Century Literature, and Narrative. Her first book, Freak-garde: Extraordinary Bodies and Revolutionary Art in America (University of Minnesota Press, 2013), explores the connections between avant-garde art practices in the U.S., the history of American capitalism, and liberal subjectivity. She is currently working on a book that explores the relationship between anarchist politics and network aesthetics in contemporary art and culture. [return to article]

DOUGLAS CUSHING is a PhD candidate in art history at the University of Texas at Austin. His dissertation, provisionally titled “Interwar Romanticism, Revolution, and Modernism on Display in transition,” treats Eugene Jolas’s little magazine, transition (1927–1938), as a virtual gallery space and meeting place. The project also explores the transatlantic transmission, circulation, and transformation of avant-garde ideas via the periodical, as well as transition's afterlives in the postwar art of the United States. Cushing’s past research includes work on Marcel Duchamp’s relationship with the writings of the Comte de Lautréamont (Isidore Ducasse), beginning before the advent of Dada and Surrealism. Cushing was the 2013–14 Andrew W. Mellon Fellow in Prints and Drawings and European Paintings at the Blanton Museum of Art, where he was subsequently curator for that museum’s exhibition Goya: Mad Reason (June 19 to September 25, 2016). Cushing’s most recent awards include the 2017–18 Houghton Mifflin Fellowship in Publishing History, from the Houghton Library at Harvard University, and a University Graduate Continuing Fellowship from the University of Texas at Austin. He is also the 2018–19 Vivian L. Smith Fellow at the Menil Collection in Houston, Texas.  [return to article]

ANNE COLLINS GOODYEAR, PhD is Co-Director of the Bowdoin College Museum of Art and President Emerita of the College Art Association. Her scholarship concerns the relationship of American art to science and technology, the construction of personal identity in modern and contemporary art, and the work of Marcel Duchamp. As a museum professional, she has focused on developing digital tools to enhance access to collections and has worked on protocols for collecting and preserving digital art. She oversaw the first online scholarly catalogue for an academic museum and co-founded the Smithsonian’s digital and time-based media working group. Essays by Goodyear have appeared in scholarly anthologies and journals, and she has co-edited several volumes, including, most recently: This Is a Portrait If I Say So: Identity in American Art, 1912 to Today (Yale University Press, 2016), with Kathleen Campagnolo and Jonathan F. Walz; and AKA Marcel Duchamp: Meditations on the Identities of an Artist (Smithsonian Institution Scholarly Press, 2014), with James W. McManus. She is co-editor, with Margaret Weitekamp, of Artefacts: Studies in the History of Science and Technology Volume 9: Analyzing Art and Aesthetics (Smithsonian Institution Scholarly Press, 2013), and is co-editor, with James W. McManus, of Inventing Marcel Duchamp: The Dynamics of Portraiture (MIT Press and National Portrait Gallery, 2009). During her tenure as President of CAA, she helped oversee the development of CAA’s Code of Best Practices in Fair Use for the Visual Arts (2015), a document that has helped to clarify the application of the fair use doctrine for creative, curatorial, and scholarly purposes in the fine arts. [return to article]

CATHERINE W. HOLLIS received her PhD from The University of California—Berkeley, where she teaches writing in the Fall Program for Freshmen. She has also worked as an assistant editor for the Emma Goldman Papers Project, a documentary history of Goldman’s life and times. She is the author of Leslie Stephen as Mountaineer (Cecil Woolf, 2010) as well as articles on Virginia Woolf, Djuna Barnes, and Jean Rhys. Her reviews of nonfiction, primarily memoir, appear in Public Books and Book Page. Her current research focuses on Emma Goldman’s relationships with modernist women. She is currently co-editing, with Jeanne Dubino and Paulina Pajac, the forthcoming Edinburgh Companion to Virginia Woolf and Contemporary Global Literature. [return to article]

JAMES HOUSEFIELD is an Associate Professor of Design and Affiliated Faculty in Art History at the University of California, Davis. His monograph Playing with Earth and Sky: Astronomy, Geography, and the Art of Marcel Duchamp appeared in 2016 (Dartmouth College Press). Housefield’s research focuses on the variety of ways we design experiences; he is especially interested in the histories of exhibition design, and modern cultures of immersive experience. In addition to projects related to Duchamp, he is completing a book about Paul Gauguin. Titled Gauguin’s Art as Experience, his book analyzes Gauguin’s use of multiple artistic media to create immersive experiences capable of transporting audiences out of their typical states of existence. [return to article]

JONATHAN JUDD is an independent researcher, writer, and curator located in Brooklyn, New York. He is a graduate of the University of Connecticut's School of Fine Arts where he received his bachelor's degree in art history with a focus in modern and contemporary American art and visual culture. He is also a graduate of Brooklyn College, part of the City University of New York, where he received his master's degree in art history, writing on and researching the American Social Surrealists with a particular focus on the artist James Meikle Guy and his work during the Great Depression.  Jonathan has published work in the first edition of The Brooklyn College Historical Society's academic journal Clio. He has written articles and reviews for the New York-based newspaper The Indypendent, where he continues to contribute. He also curates pop-up exhibitions and shows working with the local artists and art of Brooklyn. [return to article]

SAMANTHA KAVKY is an Associate Professor of Art History at Penn State University, Berks campus and a co-editor of the online Journal of Surrealism and the Americas. She has published articles on the Surrealist artist Max Ernst in Art HistorySourceThe Space Between and RES—Journal of Anthropology and Aesthetics. Her most recent essay, “Max Ernst and the Second World War: Witches, Chimeras, and Totems” appears in the exhibition catalogue for Monsters & Myths: Surrealism and War in the 1930s and 1940s (Rizzoli, 2018), curated by the Wadsworth Atheneum and the Baltimore Museum of Art.  [return to article]

ELLIOTT H. KING is an Associate Professor of Art History at Washington and Lee University and a specialist in Salvador Dalí’s art and writing. Educated at the Courtauld Institute of Art and the University of Essex, his publications include Dalí, Surrealism, and Cinema (Kamera Books, 2007), Dalí: The Late Work (High Museum of Art with Yale University Press, 2010), and contributions to Dalí exhibitions at the Centre Georges Pompidou, the National Gallery of Victoria, the Tate Modern, and the Philadelphia Museum of Art. [return to article]

MARIANNE KINKEL is an associate professor of art history at Washington State University. She is currently exploring how anti-prejudice cartoons, comic books, and animated films participated in World War II and postwar educational campaigns against racism and anti-Semitism. This research stems from her prior publication, Races of Mankind: The Sculptures of Malvina Hoffman (University of Illinois Press, 2011).  [return to article]

CATRIONA McARA is University Curator at Leeds Arts University. She has published extensively on Dorothea Tanning and Leonora Carrington with a particular interest in feminist aesthetics and surrealist legacies in contemporary practice. She is author of A Surrealist Stratigraphy of Dorothea Tanning’s Chasm (Routledge, 2017) and co-editor with Jonathan P. Eburne of Leonora Carrington and the International Avant-Garde (Manchester University Press, 2017).  In 2016 she curated Leonora Carrington/Lucy Skaer (Leeds Arts University).  [return to article]

ERIN McCLENATHAN is Assistant Professor of Art History at Mercer University, where she teaches courses in the College of Liberal Arts. Her current research defines the medium of handheld cinema through dadaist and surrealist periodicals in a continuation of her doctoral project, which she completed at the University of Georgia in 2018. A related essay, “Hans Richter’s Rhythmus Films in G: the Collective Cinematographic,” appears in InVisible Culture (Spring 2016). She has also presented her work on modernism and filmic media as part of conferences convened by the European Network for Avant-Garde and Modernism Studies, the Modernist Studies Association, and the International Society for the Study of Surrealism. [return to article]

JAMES W. McMANUS is Emeritus Professor of Art History at California State University Chico. Previously he taught at the University of Washington and as a lecturer at a number of art colleges and universities in London, England. He has served on review panels for the National Endowment for the Humanities and the California Arts Council. McManus was one of the founders of the California State University Summer Arts Program, serving as its assistant director. His writings, dealing mostly with Duchamp and Warhol, the Fluxus movement, as well as Brian O’Doherty, have been published internationally. He has presented papers at numerous conferences and been an invited speaker in the United States, Canada, and Europe. In collaboration with Anne Collins Goodyear he was co-curator of the exhibition “Inventing Marcel Duchamp: the Dynamics of Portraiture” (National Portrait Gallery, Washington DC, 2009) and co-author/editor of the accompanying publication (MIT Press, 2009). He is co-editor, with Goodyear, of aka Marcel Duchamp: Meditations on the Identities of an Artist (Smithsonian Scholarly Press and Random House, 2015). In 2016 he was an invited speaker at the symposium “Marcel Duchamp’s Legacy” hosted by the Museum of Art at Bowdoin College. Two new book projects are underway. One deals with "Dada and Surrealism: Transatlantic Transactions between the Great War and the Cold War." The other explores Marcel Duchamp’s alter ego Rrose Sélavy.  [return to article]

JANINE MILEAF, PhD, is Executive Director of The Arts Club of Chicago. A transformative leader of this century-old institution, she was formerly Associate Professor at Swarthmore College. Her book Please Touch: Dada and Surrealist Objects After the Readymade was published by the University Press of New England and Dartmouth College Press in 2010, and she is a contributing writer to a range of international publications and museum exhibition catalogues. Mileaf also co-edited with Susan F. Rossen The Arts Club of Chicago at 100: Art and Culture 1916-2016 (2016)  and A Home for Surrealism: Fantastic Painting in Midcentury Chicago (2018), both distributed by the University of Chicago Press. At The Arts Club, Mileaf has curated exhibitions with such artists as Kerstin Brätsch, Pedro Cabrita Reis, Ralph Coburn, Janice Kerbel, Sharon Lockhart, Josiah McElheny, Jean-Luc Mylayne, Roman Ondak, Bettina Poustchii, David Salle, Allison Smith, and Simon Starling. Upcoming curatorial projects include solo exhibitions with Amy Sillman, Abraham Cruzvillegas, and Jennie C. Jones.  [return to article]

FRANCIS M. NAUMANN is an independent scholar, curator and gallery owner, specializing in the art of the Dada and Surrealist periods.  He is author of numerous articles, exhibition catalogues and books, including New York Dada 1915–25 (Harry N. Abrams, 1994), Marcel Duchamp: The Art of Making Art in the Age of Mechanical Reproduction (Harry N. Abrams, 1999), Wallace Putnam (Harry N. Abrams, 2002) and, more recently, Conversion to Modernism: The Early Work of Man Ray (Rutgers University Press, 2002).  In 1996, he organized "Making Mischief: Dada Invades New York" for the Whitney Museum of American Art, and in 1997, "Beatrice Wood: A Centennial Tribute" for the American Craft Museum in New York. His most recent book is The Recurrent, Haunting Ghost: Essays on the Art, Life and Legacy of Marcel Duchamp (Readymade Press, 2012). He currently owns and operates his own gallery in New York City, which specializes in art from the Dada and Surrealist periods, as well as work by contemporary artists who possess related aesthetic sensibilities. [return to article]

GAVIN PARKINSON is Senior Lecturer in European Modernism at The Courtauld Institute of Art, editor of the Routledge series Studies in Surrealism and a former Reviews Editor of Art History (2011–2016). He lectures and writes on European and American art, culture and criticism of the nineteenth and twentieth centuries and is particularly interested in art and science, art historiography, comics and science fiction, with an emphasis on the long history of Surrealism (1922–1969). His books are Enchanted Ground: André Breton, Modernism and the Surrealist Appraisal of Fin-de-Siècle Painting (Bloomsbury, 2018); Futures of Surrealism: Myth, Science Fiction and Fantastic Art in France 1936-1969 (Yale University Press, 2015); Surrealism, Art and Modern Science: Relativity, Quantum Mechanics, Epistemology (Yale University Press, 2008); and The Duchamp Book (Tate Publishing, 2008). He is also the editor of the collection of essays Surrealism, Science Fiction and Comics (Liverpool University Press, 2015).  [return to article]

BERIT POTTER is Assistant Professor in the Department of Art at Humboldt State University, where she also oversees the Museum and Gallery Studies certificate program. She received her doctorate from New York University’s Institute of Fine Arts in 2015 as well as a M.A. from New York University’s Program in Museum Studies. Her research engages with issues including the display and reception of Latin American and US modern art on the West Coast as well as the use of exhibitions as propaganda during World War II. Her current book project examines the career of the San Francisco Museum of Modern Art’s first director, Grace McCann Morley, and her pioneering advocacy for global perspectives in the study and exhibition of modern and contemporary art. She has held positions in several art institutions, including a research fellowship sponsored by the Terra Foundation for American Art at the Smithsonian American Art Museum. Prior to joining HSU, she taught art history and museum studies at numerous institutions, among them Mills College, the San Francisco Art Institute, and University of San Francisco. [return to article]

AIMEE ARMANDE WILSON is Assistant Professor of Humanities at the University of Kansas. She specializes in modernism, reproduction, and feminist theory. The author of Conceived in Modernism: The Aesthetics and Politics of Birth Control (2016), her work has also appeared in Modern Fiction Studies, Genre, and symplokē. Her current project considers “masculine pregnancies” in modernist literature written between the wars. [return to article]

SANDRA ZALMAN is Associate Professor and Program Director of Art History at the University of Houston. Her book Consuming Surrealism in American Culture: Dissident Modernism was recently issued in paperback. It won the 2016 SECAC Award for Excellence in Research and Publication and was supported by fellowships from the American Council of Learned Societies and the American Association of University Women. She has also received an arts writers grant from the Andy Warhol Foundation for the Visual Arts and a Publication Grant from the Society for the Preservation of American Modernists.  Most recently, she is the recipient of a grant from the National Endowment for the Humanities to study the relationship among the Solomon R. Guggenheim Museum, the Museum of Modern Art, the Gallery of Modern Art, and the Whitney Museum of American Art, and the ways the relationship among these institutions shaped understandings of modernism in the early to mid-1960s.  [return to article]

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