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 Ph.D. 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 GOODYEAR
CATHERINE HOLLIS
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
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 History, Source, The Space Between and RES—Journal of Anthropology and Aesthetics. Her most recent essay, “Max Ernst and the Second World War: Witches, Chimeras, and Totems” is forthcoming in the exhibition catalogue for Monsters & Myths: Surrealism and War in the 1930s and 1940s, opening at the Baltimore Museum of Art in the Fall of 2018. [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
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). [return to article]
ERIN McCLENATHAN is Assistant Professor of Art History at Mercer University. Her doctoral project, completed at the University of Georgia in 2018, defines the medium of handheld cinema through dadaist and surrealist periodicals. 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 and the Modernist Studies Association as well as multiple symposia. [return to article]
JAMES W. McMANUS
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 A Home for Surrealism, as well as solo exhibitions with Amy Sillman and Abraham Cruzvillegas. [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. [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 Ph.D. 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 GOODYEAR
CATHERINE HOLLIS
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
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 History, Source, The Space Between and RES—Journal of Anthropology and Aesthetics. Her most recent essay, “Max Ernst and the Second World War: Witches, Chimeras, and Totems” is forthcoming in the exhibition catalogue for Monsters & Myths: Surrealism and War in the 1930s and 1940s, opening at the Baltimore Museum of Art in the Fall of 2018. [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
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). [return to article]
ERIN McCLENATHAN is Assistant Professor of Art History at Mercer University. Her doctoral project, completed at the University of Georgia in 2018, defines the medium of handheld cinema through dadaist and surrealist periodicals. 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 and the Modernist Studies Association as well as multiple symposia. [return to article]
JAMES W. McMANUS
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 A Home for Surrealism, as well as solo exhibitions with Amy Sillman and Abraham Cruzvillegas. [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. [return to article]