Curriculum Vitae - Penn Arts and Sciences

Updated 8-4-2016
CHRISTINE POGGI
Department of the History of Art
University of Pennsylvania
3405 Woodland Walk, Jaffe Building
Philadelphia, PA 19104-6208
215 898-1527 / [email protected]
EDUCATION:
1988
Ph.D., History of Art, Yale University. Dissertation: "In Defiance of
Painting: The Invention and Early Practice of Collage, 1912-1919,"
awarded the Frances Blanshard Fellowship Fund Prize
1979
M.A., History of Art, University of Chicago. Thesis: "Kandinsky and the
Path to Abstraction"
1975
A.B., History of Art, University of California at Santa Cruz
POSITIONS HELD:
Current:
Professor. Department of the History of Art, 2008-present; secondary
appointment, Italian Studies, Department of Romance Languages, 2012-;
Program in Comparative Literature and Literary Theory, 1993-; Affiliated
member, Department of Slavic Languages and Literatures, 2009-; Core
Faculty member, Gender, Sexuality and Women’s Studies, 2010-,
University of Pennsylvania
1987-
Associate Professor, 1993-2007; Assistant Professor, 1987-1993,
Department of the History of Art, University of Pennsylvania
2011-14
Faculty Director. Alice Paul Center for Research on Gender, Sexuality,
and Women; Gender, Sexuality, and Women’s Studies Program,
University of Pennsylvania
Fall 1995 /
Fall 2001
Director. Art History Program, Reid Hall, Columbia University/
University of Pennsylvania, Paris, France
Spr. 1987
Instructor. Department of the History of Art, Yale University
1979-80
NEA Curatorial Fellow. Solomon R. Guggenheim Museum, New York
GRANTS AND FELLOWSHIPS:
2016-2017
2015-16
Faculty Fellow, Penn Humanities Forum, topic: “Translation”
Sachs Programming Grant: Five speakers on International Pop Art
2012
2009
2009
2008
2007
2007
2004-05
2003-04
2003
2000
1998-99
1998
1998
1992
1988
1985-86
Fall 1984
1983-84
1983
1980-84
1979-80
1977-78
Sachs Programming Grant: “Total Installation, Public Project: Ilya and
Emilia Kabakov,” Slought Foundation, Philadelphia
Research Foundation Grant, University of Pennsylvania (book subvention)
Salvatori Research Award, University of Pennsylvania (summer research)
Mellon Cross Cultural Conference Grant (Futurism conference)
Millard Meiss Publication Grant, College Art Association, for Inventing
Futurism: The Art and Politics of Artificial Optimism
Salvatori Research Award, University of Pennsylvania (summer research)
Jane and Morgan Whitney Fellowship, The Metropolitan Museum of Art
National Endowment for the Humanities Fellowship
Dedalus Foundation Senior Fellowship
Salvatori Research Award, University of Pennsylvania (summer research)
American Association of University Women American Fellowship
Research Foundation Grant, University of Pennsylvania (book subvention)
Salvatori Research Award, University of Pennsylvania (book subvention)
Research Foundation Grant, University of Pennsylvania (book subvention)
Research Foundation Grant, University of Pennsylvania (book research)
Georges Lurcy Fellowship, Whitney Humanities Center, Yale University
Kress Foundation Travel Grant
Fulbright-Hays Fellowship, France
Walter Read Hovey Memorial Fund Grant, Pittsburgh Foundation
Full fellowship, Yale University
Solomon R. Guggenheim Museum NEA Curatorial Fellowship
Tuition fellowship, University of Chicago
AWARDS AND PRIZES:
2010
2009
1988
The Howard R. Marraro Prize, Modern Language Association, for
Inventing Futurism: The Art and Politics of Artificial Optimism, Princeton
University Press, 2009
Ira H. Abrams Memorial Award for Distinguished Teaching, School of
Arts and Sciences, University of Pennsylvania
Frances Blanshard Fellowship Fund Prize, Yale University, for the best
dissertation of the year in the History of Art
PUBLICATIONS:
Books:
Inventing Futurism: The Art and Politics of Artificial Optimism, Princeton University
Press, 2009. Awarded the MLA’s Howard R. Marraro Prize.
Futurism: An Anthology, ed. Lawrence Rainey, Christine Poggi, and Laura Wittman,
Yale University Press, 2009.
2
In Defiance of Painting: Cubism, Futurism, and the Invention of Collage, Yale
University Press, 1992. Shortlisted for the Mitchell Prize.
Exhibitions:
Co-curated with Meredith Malone, Power Fields: Explorations in the Work of Vito
Acconci. Slought Foundation, Philadelphia, February 15—March 31, 2008.
Collage and Montage in Twentieth-Century Art, Yale University Art Gallery, 1987.
Essays:
“The Paradox of the Pictorial in Picasso’s Sculpture,” Picasso. Sculptures, Musée
Picasso, Paris, online conference papers, 2017, in press.
“Cubist Equivalents: Picasso’s Céret Sketchbook of 1913,” in The Cubism Seminars, ed.
Harry Cooper (Washington D.C.: National Gallery of Art; Yale University Press, 2017),
in press.
“Circa 1922: Art, Technology, and the Activated Beholder,” in 1922: Literature, Culture,
Politics, ed. Jean-Michel Rabaté (Cambridge: Cambridge University Press, 2015), 104127.
“Utopian Violence: El Lissitzky’s Victory Over the Sun,” in Mostly Modern: Essays in
Art and Architecture, ed. Joseph Masheck (Stockbridge, MA: Hudson Hills Press, 2015),
18-36, notes 216-217.
“All: Maurizio Cattelan’s Infernal Comedy,” CIS (California Italian Studies) 5, no.1,
ed. Laura Wittman, Jon Snyder, and Simonetta Falasca-Zamponi (2014), 248-284;
http://escholarship.org/uc/item/8mg5v1jt#page-1.
“Double Exposures: Picasso, Drawing, and the Masking of Gender, 1906-1908,” in
Cubism: The Leonard A. Lauder Collection, ed. Emily Braun and Rebecca Rabinow
(New York: The Metropolitan Museum of Art, 2014), 24-35, notes 296-297.
“Ivo Pannaggi: Meccano-Futurista, Constructivist, Proletarian,” in Italian Futurism
1909-1944: Reconstructing the Universe, ed. Vivien Greene, ex. cat. (New York:
Solomon R. Guggenheim Museum, 2014), 234-239.
"Picasso's First Constructed Sculpture: A Tale of Two Guitars," The Art Bulletin 94, no. 2
(2012), 274-298.
“Focus: Magazine Piece,” in Ian Wallace: At the Intersection of Painting and
Photography, ed. Daina Augaitis, ex. cat. (Vancouver Art Gallery and Black Dog Press,
2012), 135-140.
3
"Inflexions of the Times: Newspaper in the Era of Art," in The Shock of the News, ed.
Judith Brodie, ex. cat. (Washington D.C.: National Gallery of Art, 2012), 115-127.
“Mirroring the Law: Michelangelo Pistoletto, Tehching Hsieh, Santiago Sierra, and
Chantal Akerman,” in Visualizing Law and Authority: Essays on Legal Aesthetics, ed.
Leif Dahlberg (Berlin: De Gruyter, 2012), 164-203.
“Cubist Faktura,” in Picasso and Braque: The Cubist Experiment, 1910-1912, ed. Eik
Kahng, ex. cat. (Santa Barbara Museum of Art and Yale University Press, 2011), 82-103.
“Collaborative Teaching/Participant Learning,” The Almanac (University of
Pennsylvania) 56, no. 26 (March 23, 2010), 8.
"The Futurist Noise Machine," in "Future Imperfect: Italian Futurism Between Tradition
and Modernization," The European Legacy, ed. Pierpaolo Antonello and Marja
Härmänmaa (December 2009), 821-840; repr. “Der futuristiska bullermaskinen,” trans.
Leif Dahlberg, in OEI (Stockholm), no. 47 (2010), 239-251.
"A Very Beautiful Day After Tomorrow: Christine Poggi Talks to Luca Buvoli about his
'Meta-Futurist' Project," Modern Painters (February 2009), 56-59.
Luca Buvoli: 'A Very Beautiful Day After Tomorrow (Un Bellissimo Dopodomani),'
exhibition brochure essay, Institute of Contemporary Art, Philadelphia, 2007.
“Mass, Pack, and Mob: Art in the Age of the Crowd,” in Crowds, ed. Jeffrey T. Schnapp
and Matthew Tiews (Stanford: Stanford University Press, 2006), 159-202, notes 402-407.
Crowds was awarded the Modernist Studies Association’s prize as the best book in the
field of studies of modernism and modernity published in 2006.
"Braque/Laurens: Les collages et constructions," in Braque/Laurens: Un dialogue, ed.
Isabelle Monod-Fontaine and Sylvie Ramond, with Marielle Tabart, ex. cat., Musée des
Beaux-Arts de Lyon (Paris: Éditions du Centre Pompidou, 2005), 24-31.
"Figure della follia nell'arte futurista," Sapere & narrare: Figure della follia, Conference
papers, September - December 2003, ed. Mimma Bresciani Califano (Florence: Centro
Fiorentino di Storia e Filosofia della Scienza; Leo S. Olscki, 2005), 97-114.
"Picturing Madness in 1905: Giacomo Balla's The Madwoman and the Cycle The Living,"
RES: Journal of Anthropology and Aesthetics, no. 47 (2005), 38-68.
“The Return of the Repressed: Tradition as Myth in Futurist Fascism,” in Donatello
Among the Blackshirts: History and Modernity in the Visual Culture of Fascist Italy, ed.
Claudia Lazzaro and Roger Crum (Ithaca: Cornell University Press, 2005), 203-221,
notes 276-279.
“Folla/Follia: Futurism and the Crowd,” Critical Inquiry 28, no. 3 (2002), 709-748.
4
“Following Acconci/Targetting Vision,” in Performing the Body/Performing the Text, ed.
Amelia Jones and Andrew Stephenson (London: Routledge, 1999), 255-272; repr.
"Seguindo Acconci/Visão direcionada," Arte & Ensajos, no. 16, ed. Ana Cavalcanti and
Maria Luisa Tavora, trans. Julie Pires and Marcos Bonisson (Rio de Janeiro, Programa de
Pós-Graduaçao em Artes Visuais/Escola de Belas Artes, UFRJ, 2008), 158-171.
" 'The Pasted-Paper Revolution' Revisited," Encyclopedia of Aesthetics, ed. Michael
Kelly, vol. 1, entry under “Collage” (New York and London: Oxford University Press,
1998), 387-392; rev. ed. 2014.
“The Paradox of the Futurist Woman,” in La Futurista: Benedetta Cappa Marinetti, ed.
Lisa Panzera, ex. cat. (Philadelphia: Levy Gallery, Moore College of Art and Design,
1998), 14-21.
"Lacerba: Interventionist Art and Politics in Pre-World War I Italy," in Art and Journals
on the Political Front, 1910-40, ed. Virginia Hagelstein Marquardt (University Press of
Florida, 1997), 17-62.
"Dreams of Metallized Flesh: Futurism and the Masculine Body,” Modernism/Modernity
4, no. 3 (1997), 19-43.
"Vito Acconci's Bad Dream of Domesticity," in Not at Home: The Suppression of
Domesticity in Modern Art and Architecture, ed. Christopher Reed (London: Thames and
Hudson, 1996), 237-252, 290.
"Braque's Early Papiers Collés: The Certainties of Faux-Bois," in Picasso and Braque: A
Symposium, ed. Lynn Zelevansky (Museum of Modern Art, New York, 1992), 129-149.
"La structure allégorique du collage de Picasso," in Actes du Colloque, Langage et
modernité, ed. Benjamin H. D. Buchloh, trans. Aline Elliot (Nouveau Musée,
Villeurbanne, 1991), 21-48.
"Frames of Reference: Table and Tableau in Picasso's Collages and Constructions," Art
Journal 47, no. 4 (1988), 311-322.
"Mallarmé, Picasso, and the Newspaper as Commodity," The Yale Journal of Criticism 1,
no. 1 (1987), 133-151; repr. in Collage: Critical Views, ed. Katherine Hoffman (Ann
Arbor, Michigan: U.M.I. Press, 1989), 171-192.
"Marinetti's Parole in Libertà and the Futurist Collage Aesthetic," in The Futurist
Imagination, ed. Anne Coffin Hanson, ex. cat. (Yale University Art Gallery, April 1983),
3-15.
"Eduardo Chillida," six page exhibition brochure with short essay and checklist, Solomon
R. Guggenheim Museum, 1980.
5
Exhibition reviews:
La Biennale di Venezia: All the World’s Futures, curated by Okwui Enwezor, Venice,
Italy, in caa.reviews (May 18, 2016), http://www.caareviews.org/reviews/2937.
Henri Matisse: The Cut-Outs, Museum of Modern Art, New York, in caa.reviews
(November 12, 2015), http://www.caareviews.org/reviews/2522.
Book reviews:
Karl Blossfeldt, Working Collages, ed. Ann and Jürgen Wilde, intro. Ulrike
Meyer Stump (Cambridge, MA: MIT Press, 2001), in Modernism/Modernity 10, no. 2
(2003), 398-400.
Jeffrey Weiss, The Popular Culture of Modern Art: Picasso, Duchamp, and AvantGardism (Yale University Press, 1994), in The American Historical Review (October
1996), 1222-1223.
Catalogue Entries:
"Adolphe Appian: La Source à Montalieu (Isère)" and "Paul Cézanne: Flowers," in
French Drawings—Acquisitions 1970-1984, ex. cat. (Yale University Art Gallery, April
1984), 8-12 and 33-37.
In Progress:
On the Other Side: The Performance of Exile, Migration, and Labor in Contemporary
Art (book)
“Giacomo Balla’s Vortex: The Changing Politics of an Abstract Form” (essay)
“Futurism Delayed: Luca Buvoli's Instant Before Incident (Marinetti's Drive)" (essay)
“Projections: Mona Hatoum’s Cartographic Practice” (essay)
“Stage at the Edge of the Sea: Picasso and Classical Mythology” (essay)
CONFERENCES/EVENTS ORGANIZED:
9-9/11-16
Co-organizer, Anne d’Harnoncourt Symposium (with Carlos Basualdo,
Miriam Giguière, and Charlotte Lowry), The Museum as Score, including
performances of Levée de conflits by Boris Charmatz and Musée de la
danse and Duo2015 by the William Forsythe Company, University of
Pennsylvania, Philadelphia Museum of Art, and Drexel University
6
Spr. 2016
Co-organizer (with Erica Battle), International Pop Art, series of five
speakers, held in conjunction with the exhibition International Pop,
Philadelphia Museum of Art
4-24/25-14
Co-organizer (with Fabio Finotti and Marina Della Putta Johnson) and
presider, International Conference, World War I: Myth and Reality, Center
for Italian Studies, University of Pennsylvania
2-27/28-14
Co-organizer and plenary session moderator, Gender, Sexuality and
Women’s Studies 40th Anniversary Conference, University of
Pennsylvania
11-15/16-13
Co-organizer, Anne d’Harnoncourt Conference (with Anna Vallye),
Reconsidering Paris in the 1920s: Fernand Léger in an Expanded
Context, University of Pennsylvania and Philadelphia Museum of Art
3-14-13
Co-organizer (with Kevin M. F. Platt), Total Installation, Public
Project: Ilya and Emilia Kabakov in Conversation, introduced and
moderated by Matthew Jesse Jackson, Slought Foundation, Philadelphia
11-05-09
Panel co-organizer and discussant, “Barbara London in Conversation:
New Media in the Museum,” Slought Foundation, Philadelphia
11-21/22-08
Co-organizer (with Fabio Finotti), Symposium, Futurism: Rupture and
Tradition, Center for Italian Studies, University of Pennsylvania
3-1-08
Co-organizer (with Meredith Malone), Symposium, Vito Acconci: Public
Nuisance, Slought Foundation, Philadelphia
9-24-05
Panel organizer and moderator, "Word and Image in the Modern Public
Monument," Symposium, Elective Affinities, 7th International Conference
on Word & Image Studies, University of Pennsylvania
3-18-05
Panel co-organizer (with Ingrid Schaffner) and moderator, The Trouble
with Resistance, held in conjunction with the exhibition "Barry Le Va:
Accumulated Vision," Institute of Contemporary Art, Philadelphia
4-20-01
Panel organizer and chair, “Artistic Avant-Gardes in Twentieth-Century
Italy,” American Association for Italian Studies Annual Conference,
University of Pennsylvania
10-15-00
Chair, and co-organizer (with Michael Taylor), panel, “Marcel Duchamp,”
Modernism Association Annual Conference, University of Pennsylvania
9-12-98
Co-organizer (with Lisa Panzera) and moderator, Symposium, Rhetoric
and Reality: Feminism, Futurism, and the Work of Benedetta, held in
7
conjunction with the exhibition, La Futurista: Benedetta Cappa Marinetti,
Moore College of Art and Design, Philadelphia
9-13-97
Co-organizer (with Jean-Michel Rabaté and Nancy Shawcross),
Symposium, Manipulated Realities: Imagery in the Digital Age, held in
conjunction with the exhibition Photography After Photography, Institute
of Contemporary Art, Philadelphia
4-5-97
Co-organizer (with Ann Temkin), Symposium, held in conjunction with
the exhibition The Rothschild Collection: Collage, Philadelphia Museum
of Art
11-6-93
Co-organizer (with Ann Temkin) and panel chair, Symposium held in
conjunction with the exhibition Thinking is Form: The Drawings of
Joseph Beuys, Philadelphia Museum of Art
2-5-93
Session Organizer and Chair: "The Political Uses of Collage," College Art
Association Annual Meeting, Seattle, WA
LECTURES (Selected):
3-2017
Lecture, held in conjunction with the exhibition “Branding an Empire:
Designing Fascist Italy,” Cleveland Institute of Art
3-25-16
“The Paradox of the Pictorial in Picasso’s Late Sculpture,” Symposium,
Picasso. Sculptures, Musée Picasso, Paris
1-31-16
“Picasso: Cubism, Classicism, and the Politics of Style,” held in
conjunction with the exhibition, Picasso: The Great War,
Experimentation, and Change,” Barnes Foundation, Philadelphia
1-19-16
“Picasso: Head of a Woman, 1929-1930,” Scholars’ Evening, held in
conjunction with the exhibition Picasso Sculpture, Museum of Modern
Art, New York
11-10-15
“Projections: Mona Hatoum’s Cartographic Practice,” Daniel H.
Silberberg lecture series, Institute of Fine Arts, New York University
10-9-15
“Giacomo Balla’s Vortex: The Changing Politics of an Abstract Form,”
Conference, Traces of Modernism Between Art and Politics: From the
First World War to Totalitarianism, German Historical Institute, Rome
2-25-15
“Barbara Kasten Considered: Materials and Margins,” Institute of
Contemporary Art, University of Pennsylvania
8
1-8-15
Presider, roundtable, "Transnational Futurism: Italy, Russia, and Beyond,”
Modern Language Association Annual Convention, Vancouver
11-3-14
Conversation with Michelangelo Pistoletto, Alain Elkann, and Fabio
Finotti, on the publication of The Voice of Pistoletto, Center for Italian
Studies, University of Pennsylvania
9-11-14
“Malevich, the War, and the Crisis in Faciality,” Conference, ‘Standing
upon the Furthest Promontory of the Ages’: World War I and Cultural
Change, State Institute of Art Studies, Moscow
5-7-14
“Ivo Pannaggi, Arte Meccanica, and the International Avant-Garde,”
Solomon R. Guggenheim Museum, New York
4-8-14
“All: Maurizio Cattelan’s Infernal Comedy,” Council of the Humanities,
Program in Italian Studies, Princeton University
4-3/4-14
Participant, The Cubism Seminars, and paper, “Cubist Equivalents:
Picasso’s Céret Sketchbook of 1913,” Center for Advanced Study in the
Visual Arts, National Gallery, Washington, D.C.
3-21-14
Panel moderator: “Pataphysics and the Arts,” Conference, Pataphysics
Then and Now, Slought Foundation and University of Pennsylvania
3-14-14
“Mona Hatoum’s Nomadic Maps,” Conference, Art, Life, and the Rule
of Law, Lund University, Sweden
2-28-14
“The Masking of Gender in Picasso’s Nudes, 1906-08,” Panel,
“Visualizing Feminism,” Gender, Sexuality & Women’s Studies, 40th
Anniversary Conference, University of Pennsylvania
2-26-14
Panelist, “Futurism at the Guggenheim: A Roundtable Discussion,” Italian
Academy, Columbia University
2-24-14
Invited presenter, “Ivo Pannaggi, Enrico Prampolini, Benedetta, and Arte
Meccanica in the 1920s,” Scholars' Day, held in conjunction with the
exhibition, Reconstructing the Universe: Italian Futurism 1909-1944,
Solomon R. Guggenheim Museum, New York
1-31-14
“Circa 1922: Art, Technology, and the Activated Beholder,” Department
of Architecture, University of Pennsylvania
10-17/18-13
Participant, The Cubism Seminars, Center for Advanced Study in
Visual Arts, National Gallery, Washington D.C.
9
10-3/4-13
“All: Maurizio Cattelan’s Infernal Comedy” (lecture) and “Stage at the
Edge of the Sea: Picasso and Classical Mythology” (colloquium),
University of Maryland
3-22-13
“All: Maurizio Cattelan’s Infernal Comedy,” Symposium, The Monk, the
Priest, the Nun, Center for Italian Studies, University of Pennsylvania
3-1-13
“Picasso’s Sculpture and the African Model,” Barnes Foundation,
Philadelphia
2-15-13
Panel respondent, “The Photographic Record: Images of and as Objects,”
College Art Association Annual Meeting, New York
1-29-13
“Ian Wallace and Christine Poggi in Conversation,” Series, Reading Ian
Wallace, held in conjunction with the exhibition, Ian Wallace: At the
Intersection of Painting and Photography, Vancouver Art Gallery
1-18-13
Panel moderator, Symposium, Intimate Collaborations, University of
Pennsylvania, held in conjunction with the exhibition Dancing Around
the Bride: John Cage, Merce Cunningham, Robert Rauschenberg, Jasper
Johns, and Marcel Duchamp, Philadelphia Museum of Art
11-26-12
“Stage at the Edge of the Sea: Picasso and Classical Mythology,”
Symposium, Picasso: Outros Critérios, Universidade de São Paulo
4-24-12
Conversation with artist Carolee Schneemann and Aaron Levy, Mutter
Museum, Philadelphia, held in conjunction with the exhibition, Utterly
Precarious, Carolee Schneemann in 5 Parts, Slought Foundation and the
Mutter Museum
3-9-12
Invited participant, Léger Scholars’ Day, Philadelphia Museum of Art
2-10-12
“The Square and the Vortex: Modes of Potentiality in Kazimir Malevich
and Giacomo Balla,” Symposium, Abstract Painting and Beyond, held
in conjunction with the exhibition, Charline von Heyl, Institute of
Contemporary Art, University of Pennsylvania
1-21-12
“Utopian Violence: El Lissitzky’s Victory Over the Sun,” Conference in
honor of Joseph Masheck, Hofstra University
10-24-11
Invited presenter, Scholars’ Day, Exhibition, Picasso and Braque: The
Cubist Experiment, 1910-1912, Santa Barbara Museum of Art
10-23-11
“Vision and Touch in Early Cubism,” Symposium, Picasso and Braque:
The Cubist Experiment, 1910-1912, Santa Barbara Museum of Art
10
6-20-11
“Cubist Jeu d’esprit,” Santa Barbara Museum of Art
6-10-11
“Trompe-l’esprit: Cubism and the Play of the Imagination,” Kimbell Art
Museum, Dallas
4-5-11
Invited presenter, Scholars’ Day, Exhibition, Picasso: Guitars, 1912-1914,
Museum of Modern Art, New York
2-11-10
Conversation with Michelangelo Pistoletto, Center for Italian Studies,
University of Pennsylvania
10-31-10
Conversation with Michelangelo Pistoletto, Carlos Basualdo, and
Germano Celant, The Sixties and Arte Povera, Philadelphia Museum of
Art
9-24-10
“Mirroring the Law in Contemporary Art,” Conference, Law and the
Image, Swedish National Library, Stockholm
4-22-10
“Dis/fare Mondi: Italian Artists at the Venice Biennale—Michelangelo
Pistoletto, Simone Berti, Grazia Toderi,” Center for Italian Studies,
University of Pennsylvania
4-14-10
Panel moderator, “Jewish Culture in Maira Kalman’s Work,” held in
conjunction with the exhibition, Maira Kalman: Various Illuminations (of
a Crazy World), Institute of Contemporary Art, Philadelphia
4-9-10
Panel chair, “Visual Culture,” Symposium, The Thaw: Visual Culture
and Beyond, held in conjunction with the exhibition Laughing Matters:
Soviet Propaganda in Khrushchev’s Thaw 1956-1964, University of
Pennsylvania
2-26-10
“Picasso’s First Constructed Sculpture: A Tale of Two Guitars,” Rose
Susan Hirschhorn Behrend Lecture, Philadelphia Museum of Art
11-14-09
"Victory Over the Sun / Anguish of the Machines: Utopian Violence in
Post-Revolutionary Futurist Theater," Symposium, FUTURISMO/
FUTURIZM: The Futurist Avant-Garde in Italy and Russia, Yale
University
11-06-09
"Futurist Women," Performa '09 and Casa Italiana, New York University,
Symposium held in conjunction with the exhibition Le Futuriste, Casa
Italiana, New York
10-30-09
Panel discussant, "Sexuality, Film, and Media," Symposium, Women's
Studies at Penn: The 35th Anniversary Conference, University of
Pennsylvania
11
4-27-09
"The Futurist Noise Machine," keynote address, Conference, Futurism at
100 Years! Royal Institute of Technology, Stockholm
4-18-09
"Conversation with Luca Buvoli," Symposium, The Measurement of a
Centenary: Futurism at 100, Harvard University
3-31-09
"Anachro-Futurism: Luca Buvoli's Instant Before Incident," Johns
Hopkins University
3-25-09
"Cézanne's Legacy," Marjorie Kopeland Cultural Series, The Kennedy
House, Philadelphia
11-21-08
"The Futurist Noise Machine," Symposium, Futurism: Rupture and
Tradition, Center for Italian Studies, University of Pennsylvania
9-23 -08
"Glue, Paper, Scissors: Picasso as Bricoleur in 1912," Institute for the Arts
and Humanities, Pennsylvania State University
3-1-08
"Vito Acconci's Power Fields," Symposium, Vito Acconci: Public
Nuisance, Slought Foundation, Philadelphia
11-13-07
"Noise-Forms: Giacomo Balla and the Politics of Abstraction," Art,
Criticism, and Theory Colloquium Series, SUNY Purchase
10-4-07
"Boccioni's Anxious Laugh," University of Delaware
9-28-07
"Joseph Beuys: Fat, Felt and Film," conversation with Lisa Saltzman,
Slought Foundation, in conjunction with exhibition German Video From
the Collections of the Kunstmuseum Bonn: Joseph Beuys to Today
3-23-07
Respondent, "Usable Pasts: American Art from the Armory Show to Art of
this Century," University of Pennsylvania and Philadelphia Museum of
Art
1-19-07
Exhibition walkthrough and conversation with artist Luca Buvoli, in
conjunction with the exhibition A Very Beautiful Day After Tomorrow,
Institute of Contemporary Art, Philadelphia
10-11-06
"Collage as Tradition and Innovation," in conjunction with an exhibition
organized by the National Collage Society, Ursinus College
2-24-06
"Picasso's First Constructed Sculpture: A Tale of Two Guitars," Panel,
“Cubism Approaching 100: Material Questions,” College Art Association
Annual Meeting, Boston
12
4-5-05
"Boccioni's The City Rises: Imagining the Futurist Metropolis,"
Metropolitan Museum of Art, New York; Italian Studies Colloquium,
University of Pennsylvania, 4-7-05
12-01-04
"Picturing Madness in 1905: Giacomo Balla's The Madwoman and the
Cycle The Living," Department of the History of Art, Boston University
10-17-03
“Figure della follia nell’arte futurista,” Lecture series, “Sapere & narrare:
Figure della follia,” Centro Fiorentino di Storia e Filosofia della Scienza,
Società Italiana per lo Studio dei Rapporti tra Scienza e Letteratura,
Florence, Italy
1-24-03
“Picasso’s Many Classicisms,” Symposium, The Modern Setting of the
Classical Text, University of Pennsylvania
11-16-02
Moderator, Giorgio de Chirico: An International Symposium, in
conjunction with the exhibition “Giorgio de Chirico and the Myth of
Ariadne,” Philadelphia Museum of Art
5-1-02
“Old Age Styles in Art,” Conference, Time’s Potential: The Past, Present,
and Future of Aging, Penn Humanities Forum
4-11-02
“The Synthetic Century—Collage from Cubism to Postmodernism,” Yale
University Art Gallery
3-1-02
“Curator’s Perspective/Exhibition Walkthrough,” Conversation with
Ingrid Schaffner, on the exhibition, The Photogenic: Photography through
Its Metaphors in Contemporary Art, Institute of Contemporary Art,
Philadelphia
5-23-01
“The Dialectic of Place: Studio and Gallery in Contemporary Art,”
Symposium, Creative Spaces: Artists and their Studios, Wadsworth
Atheneum Museum of Art, Hartford
4-17-01
“Picasso and the Question of Style,” University of Pennsylvania
Humanities Forum
3-24-01
Panel chair, “High and Low,” Symposium, The Practice of Style:
Literature and the Visual Arts from Weimar Classicism to the Present,
University of Pennsylvania Humanities Forum
9-4-00
“ ‘Ineluctable Modality of the Visible’: The Experience of Light in
Giacomo Balla’s Iridescent Interpenetrations,” 30th International
Congress of the History of Art, Comité International d’Histoire de l’Art,
London; Department of the History of Art, Rutgers University, 11-07-00
13
2-25-00
“The Return of the Repressed: Tradition as Myth in Futurist Fascism,”
College Art Association Annual Meeting, New York
1-22-00
Invited audience respondent, Symposium on Austrian performance and
media artist VALIE EXPORT, Moore College of Art and Design,
Philadelphia
1-12-00
“Folla/Follia: Futurism and the Crowd,” Princeton Art History
Colloquium, Institute for Advanced Study, Princeton University; and
Department of the History of Art, Temple University, 2-29-00
11-15-98
“Benedetta Futurista!” lecture held in conjunction with the exhibition La
Futurista: Benedetta Cappa Marinetti, Walker Art Center, Minneapolis
9-25-98
Panel co-chair (with Susan Sidlauskas): Theorizing the Space of Gender:
Beyond the Private/Public Divide, Symposium in Honor of 25 Years of
Women’s Studies at the University of Pennsylvania
3-18-98
“Pop/Abstraction,” lecture in conjunction with an exhibition of this title,
Museum of American Art of the Pennsylvania Academy of Fine Arts
9-13-97
“Shadow Proofs,” Symposium, Manipulated Realities: Imagery in the
Digital Age, held in conjunction with the exhibition Photography After
Photography, Institute of Contemporary Art, Philadelphia
4-5-97
"Picasso's 'Green Period': Collage, Pastiche, and the Ends of Cubism,"
Symposium, The Rothschild Collection: Collage, Philadelphia Museum of
Art
2-14-97
"Following Acconci or Beholding as Transgressive Performance," College
Art Association Annual Meeting, New York
2-8-97
"Umberto Boccioni's Domestic and Urban Spaces," Symposium,
Conversations on Pictorial Space, in honor of Anne Coffin Hanson, Yale
University
8-9-96
"Cézanne and Picasso," Philadelphia Museum of Art
11-3-95
"Dreams of Metallized Flesh: Futurism and the Masculine Body,"
Symposium, Futurism, Yale University
3-29-95
"Vito Acconci's Bad Dream of Domesticity," Lee Frank Lecture,
Swarthmore College
1-11-95
Panelist, discussion held in conjunction with the exhibition Andres
Serrano, Institute of Contemporary Art, Philadelphia
14
5-14-94
"Appropriation and Citation in Picasso's Cubism," Print Council of
America Annual Meeting, Philadelphia
3-10-94
"Lacerba: Interventionist Art and Politics in Pre-World War I Italy,"
Barnard College/Columbia University Spring Lecture Series
9-26-93
"Picasso's Wit," National Gallery of Art, Washington D.C.
4-28-93
"Reasons to Move: Vito Acconci's Early Work," Bryn Mawr College,
Department of the History of Art Colloquium Series
2-24-93
"Cubism and Futurism in the Age of Relativity," Lecture series on
relativity, Smithsonian Museum, Washington D.C.
7-26-92
"Picasso's Cubist Still Lifes," Philadelphia Museum of Art
11-18-91
"Collage/Construction," Symposium, Collage and Montage in Art and
Architecture, Graduate Department of Architecture, University of
Pennsylvania
10-17-91
"Futurist Collage and Free-Word Poetry in the Service of the War,"
Graduate School of Design, Harvard University
2-8-91
"Rauschenberg's Allegory of the Fall and Postmodernism," Daniel H.
Silberberg Lecture Series, New York University
6-22-90
"La structure allégorique du collage de Picasso," Symposium, Langage et
Modernité, Nouveau Musée, Villeurbanne, France
11-11-89
"Braque's Early Papiers Collés: The Certainties of Faux-Bois,"
Symposium held on in conjunction with the exhibition Picasso and
Braque: Pioneering Cubism, The Museum of Modern Art, New York
4-22-89
"Rauschenberg's Allegories: The Myth of Icarus and Artistic Making,"
American Society for Aesthetics, Philadelphia, PA
4-13-88
Respondent, Lecture by Arthur Danto, "Artifact and Art," University of
Pennsylvania
2-14-87
"Mallarmé, Picasso, and the Newspaper as Commodity," College Art
Association Annual Meeting, Boston, MA
12-6-86
"The Making of Picasso's Guernica," Spain 1936: A Symposium to
Commemorate the 50th Anniversary of the Spanish Civil War, Yale
University
15
11-22-85
"Frames of Reference: Table and Tableau in Picasso's Collages and
Constructions," Whitney Humanities Center, Yale University
4-1-78
"Savages and Spiritual Gifts: Kandinsky Before the War," Midwest
Art History Association Convention, The University of Illinois at UrbanaChampaign
AUDIO RECORDINGS/FILMS:
Audiotaped conversation on Picasso, incorporated into the special program on Picasso,
produced by Susan Lewis for WRTI FM radio, on the occasion of the exhibition Picasso
and the Avant-Garde in Paris, Philadelphia Museum of Art, February 2010.
Filmed interview, incorporated into “Picasso and Paris,” a film produced by NBC and
Studio Ten: Creative Group, in conjunction with the exhibition, Picasso and the AvantGarde in Paris, Philadelphia Museum of Art, February 2010.
Filmed interview, incorporated into the documentary “Women and Pop Art,” directed by
Glen Holsten in conjunction with the exhibition, “Seductive Subversion: Women Pop
Artists 1958-1968,” The University of the Arts, January 2010, aired on public television.
Audiotaped commentary, incorporated into the audio tour for the exhibition, Picasso and
the Avant-Garde in Paris, Philadelphia Museum of Art, December 2009.
Filmed interview, incorporated into "Ave Machina (Instant Before Incident)," part of
Luca Buvoli's multi-media installation, "Instant Before Incident (Marinetti's Drive)," The
Mattress Factory, Pittsburgh, Summer 2008 and Susan Inglett Gallery, February-March
2009
Vito Acconci: In Conversation (filmed conversation between Acconci and students in the
Halpern-Rogath seminar, Acconci Studio, December 9, 2007), DVD co-produced with
Aaron Levy, Slought Foundation, 2008
Filmed conversation with Lisa Saltzman, "Joseph Beuys: Fat, Felt, and Film," Slought
Foundation, September 28, 2007.
Filmed interview on Futurism, incorporated into Luca Buvoli's multi-media installation
“A Very Beautiful Day After Tomorrow (Un Bellissimo Dopodomani)," Institute of
Contemporary Art, Philadelphia, January-March 1907, and The Arsenale, Venice
Biennale, June-November 2007.
ACADEMIC AFFILIATIONS (Penn):
2016-17
2012-
Steering Committee, Gender, Sexuality, and Women’s Studies Program
Professor (secondary appointment), Italian Studies, Department of
Romance Languages
16
2010201020092000-04
199819931993-96
1989-91
Member, Gender, Sexuality, and Women’s Studies Faculty Board
Core Faculty Member, Gender, Sexuality and Women’s Studies Program
Affiliated Professor, Program in Slavic Languages and Literatures
Member, Film Studies Committee
Member, Center for Italian Studies Board
Professor, Graduate Group in Comparative Literature and Literary Theory,
Executive Committee Member, 1993-2002
Adjunct Faculty Member, Annenberg School of Communications
Member, Women’s Studies Advisory Board
PROFESSIONAL MEMBERSHIPS:
College Art Association, Modernist Studies Association, Modern
Language Association
OTHER PROFESSIONAL ACTIVITIES (Selected):
20162016
2015-16
2014-15
2014-15
2012
2012
2012
2012
2011
2011-14
2010-14
2009
2006
2006
2005
2001
1999
1998
19962015
2003-07
1996-2000
19961994-95
Advisory Committee, Barnes Foundation
Chair, Review Committee, Department of the History of Art and the
Institute of Fine Arts, New York University
Referee, National Humanities Center Fellowships
Juror, Modern Italian Studies, American Academy in Rome Prize
Juror, Dedalus Foundation Fellowships
Referee, National Humanities Center Fellowships
Referee, American Academy in Berlin Fellowships
Juror, Modern Italian Studies, American Academy in Rome Prize
Juror, National Collage Society, Exhibition at Ursinus College
Referee, Agence Nationale de la Recherche, France
Advisory Committee, exhibition: Italian Futurism 1909-1944,
Solomon R. Guggenheim Museum, 2014
Advisory Board, Foundation for Self-Taught Artists
Referee, American Academy in Berlin Fellowships
Juror, National Collage Society, Exhibition at Ursinus College
Chair, Modern Italian Studies jury, American Academy in Rome Prize
Juror, Modern Italian Studies, American Academy in Rome Prize
External Review Committee, Duke University program in Venice, Italy
Referee, Killam Research Fellowship, Canada Council for the Arts
External Review Committee, Department of Art History, University of
Pittsburgh
Committee on Modern and Contemporary Art (consideration of planning,
acquisitions and de-accessions), Philadelphia Museum of Art
Referee, J. Paul Getty Postdoctoral Fellowships in the History of Art and
the Humanities
Referee, American Philosophical Society Grants
Referee, Social Science Research Council, Western Europe Dissertation
Fellowships
17
1988
Juror, Whitney Museum Annual Symposium on Twentieth Century
American Art
CONFIDENTIAL REFEREE REPORTS:
Yale University Press, University of Chicago Press, Princeton University Press,
Cambridge University Press, University of Pennsylvania Press, Penn State University
Press, Getty Publications, Canadian Centre for Architecture, Art History, The Art
Bulletin, Word and Image, Rutger's Art Review, Modernism/Modernity, CIS (California
Italian Studies), Prentice-Hall Press, Ashgate Press
18

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