Art Buzz March 8, 2012: Alexander Nemerov: ‘Renowned’ Yale art historian leads Alfred Heber Holbrook Memorial Lecture at Georgia Museum of Art



‘Renowned’ art historian leads lecture

The wait is over.

Dr. Alexander Nemerov, Vincent Scully Professor of the History of Art at Yale University will give this academic year’s Alfred Heber Holbrook Memorial Lecture, which normally takes place in November.

Alexander Nemerov

“This is the 26th one,” said Hillary Brown, director of communications for the Georgia Museum of Art. “It’s happened almost every year. Usually, we do it in the fall. We skipped a year so that we could have Nemerov.”

“This one is a pretty big deal,” she said. “We usually have an art historian who is renowned and out-of-state.”

The lecturer is carefully chosen each year to provide a variety of topics at the commemorative lecture as well as a high-quality educational experience.

“One of the things we strive to provide is a world-class art experience to students on their own campus,” Brown said.

Nemerov’s lecture coincides with GMOA’s exhibition “To Make a World: George Ault and 1940s America.”

Recently, he has published a book on the same topic.

“He’s a distinguished speaker,” said Carissa DiCindio, curator of education. “He writes about American visual culture in the 18th to mid-20th centuries.”

As soon as the George Ault exhibition came to the GMOA, the University was eager to invite Nemerov back.

“We really wanted Dr. Nemerov to speak with the exhibition because we’ve heard him speak in the past and we know that he’s a great lecturer,” DiCindio said. “His knowledge on this topic is so great, too.”

At this lecture, Nemerov will speak about Ault, an American painter of the 1940s, whose artwork is loosely classified with the Precisionist movement with Cubist and Surrealist influences. Edward Hopper, Rockwell Kent and Andrew Wyeth are a few of his contemporaries.

Other art historians who have delivered AHHM lectures before include Francis Naumann and Marvin Trachtenberg.

The annual lecture honors Alfred Heber Holbrook.

“It’s named after our founder and director,” Brown said. “He was definitely interested in art scholarship. He was self-taught in everything he knew about art.”

A key element of the lecture is providing the knowledge to everyone.

“We want to make sure all of our education programs are free so that … they are accessible to everyone,” DiCindio said. “That is really important to us.”

Although the honorary lecture is held months later than normal, the honor to Holbrook and Nemerov’s revisit could not be at a better time.

“It has a very special place in the museum’s programming every year,” DiCindio said.


Where: Georgia Museum of Art

When: Tonight at 6

Cost: Free

Art Buzz February 9, 2012: Greg Clark: Sewanee art historian next Mississippi State University humanities lecturer



Sewanee art historian next MSU humanities lecturer

Source: Mississippi State University, 2-9-12

University Relations News Bureau (662) 325-3442 Contact: Margaret Kovar February 09, 2012

University of the South art history professor Greg Clark kicks off the spring semester of Mississippi State’s Institute for the Humanities Distinguished Lecture Series.

His free presentation, “Betty Boop: A Roaring 20s Flapper in Depression-Era American Animation,” takes place Thursday [Feb. 23].

The 4 p.m. university program in the McCool Hall atrium will be followed by a reception and signing of his book, “The Spitz Master: A Parisian Book of Hours” (J. Paul Getty Museum, 2003).

As a faculty member at Sewanee: The University of the South, Clark’s scholarly work focuses on 15th century manuscript illuminations in northern France and the southern Netherlands. Previously, he worked at the Pierpont Morgan Library in New York, first as a curatorial assistant and then as an assistant curator of medieval and Renaissance manuscripts.

Clark holds master of fine arts and doctoral degrees from Princeton University.

MSU’s Distinguished Lecture Series is sponsored by the College of Arts and Sciences, the offices of Research and Economic Development and the Provost. The program regularly features scholars, writers and artists from around the world.

For more information about the event, contact Joy Smith at 662-325-7094 or

Art Buzz February 8, 2012: Art Historian Linda Nochlin to lecture on the art of industrial England at Vassar



Nochlin to return to alma mater

Nochlin to lecture on the art of industrial England

Source: Miscellany News, 2-8-12

asdfCourtesy of collegeart.comArt historian Linda Weinberg Nochlin ’51, pictured above, is this year’s recipient of the Alumnae and Alumni of Vassar College’s Distinguished Achievement Award.

Linda Weinberg Nochlin ’51 may very well be the single most renowned female art historian in academia today. It should come as no surprise, then, that Nochlin is this year’s recipient of the Alumnae and Alumni of Vassar College’s (AAVC) Distinguished Achievement Award. Nochlin will return to Vassar on Feb. 9 to deliver a talk entitled “Gericault’s London: Representing Misery after the Industrial Revolution?” She will receive AAVC’s award the following day.

After graduating from Vassar in 1951 with a degree in philosophy, Nochlin attended Columbia University, where she received her Master of Arts in English, followed by New York University’s Institute of Fine Arts, where she wrote a dissertation on Gustave Courbet, a 19th Century French painter who is synonymous with the Realist art movement.

Nochlin received her Ph.D in 1963 and returned to her alma mater that same year, as an assistant professor of art history. Nochlin taught at Vassar between 1952 and 1980, eventually serving as the Mary Conover Mellon Professor of Art History.

Nochlin is currently the Lila Acheson Wallace Professor of Modern Art at the Institute of Fine Arts, New York University. She has taught at Yale University and at the City University of New York, and has written numerous articles and books, including Representing Women; The Body in Pieces; Women, Art, and Power and Other Essays; and The Politics of Vision.

Despite her expansive list of publications, Nochlin has always remained a dedicated, passionate teacher. Sarah Gibson Blanding Professor of Art Susan Kuretsky ’63 pointed out Nochlin’s abilities as a professor. “Her lectures were characterized by great clarity of thinking, organization, even diction; and extremely subtle, lovely and elegant language. Rarely have I heard anyone translate works of art into words the way she can do,” Kurestky wrote in an emailed statement. “Everyone who heard her learned a lot about how to present material as well as the material itself.”

She is perhaps most well known for her groundbreaking essay, “Why Have There Been No Great Women Artists?” First published in a 1971 issue of ARTnews Magazine, the essay questions why there were no women equivalents for the great men artists like, say, Michelangelo, Rembrandt, Cézanne, Picasso, Matisse or de Kooning.

In discussing her own specialty in art history, Kurestky noted that there are also few women artists in the canon of Dutch 17th-century Baroque art. “Although few women artists were active in the period I teach,” Kurestky wrote, “I include Judith Leyster and Rachel Ruysch—not only because they were women but because they were good and including them adds an important point of view to the material—Linda drew attention here.”

Nochlin argued that the “elitist” structures on which art history is based had systematically excluded women artists, and that social and academic constraints had discouraged women’s pursuit of art-making. The essay dared to challenge both the chauvinistic notions of the male-dominated art world as well as emerging feminist viewpoints. Nochlin was a part of a growing movement of feminist scholarship in academia that newly reassessed the role of women in fields within the visual and performing arts.

For these reasons, Nochlin is often considered to be a founding mother of feminist art history, but her interests cover an impressively wide range. Kuretsky pointed out, “[Her essay] opened up a whole new area and way of thinking about art, but I’ve thought since that although this piece always get mentioned, Linda herself should not be pigeon-holed as a feminist art historian, as her writings range over such a great variety of topics and artists. But no one who reads this article, which came out of a seminar she taught at Vassar, can be unchanged.”

Kurtesky first encountered Nochlin as an undergraduate at Vassar during her experience taking Introduction to Art History. “[Nochlin gave] 105 lectures that were of such power and brilliance that people used to sneak back in to hear her,” Kuretsky wrote, “even after they had already taken the course.”

Like Nochlin, Kuretsky also graduated from Vassar. Kuretsky went to Harvard, and obtained a Master’s and P.h.D in art history. She then returned to her alma mater to teach art history in 1975. Kuretsky at this point became one of the colleagues of Nochlin—the very woman who once taught Kuretsky while she was still an undergraduate student. “Linda was an extremely impressive and inspiring colleague when I came back to teach at Vassar,” Kurestky wrote.

“I remember vividly her dazzling lectures in Art 105, Northern Painting and in 19th- and 20th-Century art.” It was one of the first undergraduate art history courses devoted to the study of women in art.

During Vassar’s sesquicentennial celebration last year, Nochlin sat down with Professor and Chair of Art Molly Nesbit ’74 and spoke about her introduction to the field of art history. “I took 105 partly because everyone said you had to do it, but also because I heard Adolph Katzenellenbogen give a public lecture on Chartres,” Nochlin reflected. “You know: ideas, sensual beauty, architecture, history. It was like a gesamtkunstwerk [a work of art that makes use of several forms]. That was how I looked on art history.”

Nochlin also mentioned in the interview just how lucky she felt to be a student at Vassar, in light of the school’s commitment to women’s education. “I saw that women could be brilliant thinkers and hard-working thinkers and devoted, serious thinkers. And I liked that. I felt at ease, and comfortable,” she said.

Throughout her career, Nochlin has been the recipient of many honors and awards, including Guggenheim and National Endowment for the Humanities fellowships. Her presence at Vassar will surely resonate with students and faculty alike. “She really is a dazzler!” Kurtesky concluded.

Art Buzz February 6, 2012: Peter Wood: Duke University professor to discuss his book “Near Andersonville: Winslow Homer’s Civil War” & role of art



Duke professor to discuss his book, role of art Tuesday

Source: The Gainsville Sun, 2-6-12

When Peter Wood taught his graduate seminar at Duke University he’d ask his students how many people enjoyed history in high school. No response. Then he’d ask how many liked it in college as undergraduates. A hand or two might have been raised.


If you go

What: Historian Peter Wood discusses his book “Near Andersonville: Winslow Homer’s Civil War.”

Where: Samuel P. Harn Museum of Art.

When: 6 p.m. Tuesday.

“That’s the problem,” he said. “It’s our job as historians is to make it exciting.”

Wood, a professor emeritus at Duke University, will speak at the University of Florida on Tuesday at The Harn Museum about his book, “Near Andersonville: Winslow Homer’s Civil War,” and about what people can learn from art to get a better understanding of American history. His talk is part of the Black History Month celebration.

Wood will be paid $1,000 by a grant through the Oral History Program.

Paul Ortiz, director of the Samuel Proctor Oral History Program at UF, was a graduate student at Duke University and had Wood as a professor and considers him a role model.

“He brings a passion about history that’s infectious,” he said.

Originally, Wood was supposed to speak just to Ortiz’s class, but word got out he would be on campus and students wanted to hear from him.

Ortiz said Wood is the kind of person who can engage his students and an audience. He knows you can’t tell history without visuals.

The book’s title comes from Winslow Homer’s 1865-66 painting “Near Andersonville.” In the painting, Homer, a 19th-century American landscape painter, depicts an enslaved woman stepping out of her home as Union soldiers are marched to the Andersonville prison camp by Confederate soldiers in the background.

What Wood says is so important about the painting is Homer’s depiction of African-Americans. Unlike his predecessors, he painted the enslaved woman as she would be in real life and not as a caricature.

Ortiz said it’s amazing what people can learn about American history during the Civil War.

“Long before Facebook and YouTube, they had to communicate the epic events happening right in front of them,” he said.

He said they did this through art.

Wood also will speak with students at Pugh Hall at 1:55 p.m.

Tuesday night, he’ll show a number of paintings during the Civil War period and explain the historical context of each piece, from landscapes to battle scenes. Ortiz said Wood believes the real history of slavery hasn’t been told yet because of its brutality.

He said people should come prepared to change the way they think about what they’ve been taught about the Civil War…..READ MORE — Next Page