Department of Art History and Art


Ellen G. Landau

Andrew W. Mellon Professor of the Humanities
Dept. of Art History and Art
Mather House
Case Western Reserve University
Cleveland, Ohio 44106
(216) 368‑3081
fax: (216) 368-4681
e-mail: ellen.landau@case.edu

EDUCATION
Ph.D., University of Delaware, 1981
Dissertation: “Lee Krasner: A Study of Her Early Career (1926‑1949)”

M.A., The George Washington University, 1974
Thesis: “An Investigation of the French Sources of Hans Hofmann's Color Theories”

B.A., Cornell University, 1969, cum laude, Phi Beta Kappa

SCHOLARSHIPS, FELLOWSHIPS, HONORS, AND AWARDS

Patricia and Philip Frost Essay Award, Smithsonian American Art Museum, for the article“Double Consciousness in Mexico: How Philip Guston and Reuben Kadish Painted a Morelian Mural” in American Art, Spring 2007

Visiting Scholar, American Academy in Rome, 2005

Baker-Nord Center International Travel Grants: 2004, 2005

Institute for Advanced Study, Princeton NJ, Agnes Gund and Daniel Shapiro Member, School of Historical Studies, 2004

Case Western Reserve University Senior Faculty Fellow, 2002-03

Smithsonian American Art Museum, Short-term Visiting Senior Fellow, 2001

Ohio Board of Regents, Research Initiation Grant, 1995

The John S. Diekhoff Award for Distinguished Graduate Teaching, Case Western Reserve University, Cleveland OH, 1993

The Cleveland Arts Prize, Annual Award for Creative Achievement in the Fine Arts, Literature Category, for Jackson Pollock (NY: Harry N. Abrams, 1989), 1991

Northern Ohio Live 1989-1990 Awards of Achievement, Honorable Mention in Writing, 1990

American Council of Learned Societies Fellow, 1985‑86

National Collection of Fine Arts, Smithsonian Institution Pre‑doctoral Fellow, 1978‑80

Rockefeller Foundation Fellowship for Dissertation Research, 1978‑79

Unidel Fellowship, University of Delaware, Newark DE, 1976‑77

Graduate Teaching Fellowship, The George Washington University, Washington DC, 1971‑73

Undergraduate Associates Scholarship, Cornell University, Ithaca NY, 1968‑69

TEACHING EXPERIENCE
Professor of Art History, Case Western Reserve University/Cleveland Museum of Art Joint Program in Art History, Cleveland, OH, 1995- ; Associate Professor with tenure, 1988-1995; Assistant Professor, 1982-1988; Department Chair, Fall 1998-Spring 2002; Graduate Director, 1995-2002; appointed Andrew W. Mellon Professor of the Humanities, 2003

Courses (undergrad/grad):
Introduction to Visual Awareness
Modern Art and Modern Science
Abstract Expressionism and Its Aftermath
European Painting and Sculpture, 1880‑1925
American Painting and Sculpture: Civil War to 1914
American Avant‑Garde, 1900‑1925
Contemporary Art: Critical Directions
"Visions of Utopia": European Art Movements with Utopian Goals
Issues in 2Oth Century Women's Art
Gender Issues in Feminist Art
Methodologies of Art History
Undergraduate Majors Seminar
SAGES First Seminar
SAGES Capstone: Cleveland in the 1930s (WPA/FAP Graphics Project

Graduate Seminars:
Jackson Pollock
Modernism/Postmodernism (various topics)
Early 20th Century Connections between Art and Literature
"Picasso and Things": The Still Lifes of Picasso
New Approaches to Picasso and the Nude
Critical Theory
The Beat Generation and the Development of Pop Art
Collaboration and Artistic Partnership in 20th-21st Century Art

Scholar-in-residence, Pollock-Krasner House and Study Center, a Project of the Stony Brook Foundation, East Hampton, NY, July 1989, 1991, 1992, 1993, 1994, 1995, 1996, 1997, 1998, 1999; taught 6 week course, Between Easel and Mural: The Work of Jackson Pollock, 1989

Instructor, Introductory Survey of Western Art (Pre‑historic to Gothic and Renaissance to the present) at the following schools: Prince George's Community College, Largo MD, Fall l98l‑Spring 1982; Howard Community College, Columbia MD, Fall 1980; University of Maryland, University College, College Park MD, Spring 1980; Montgomery College, Rockville MD, Fall l978‑Spring 1979; The George Washington University, Washington DC, Fall 1971-Spring 1973

Cafritz Lecturer, Georgetown University, Washington, DC, Spring 1976: taught American Painting since 1945

Assistant Professorial Lecturer, The George Washington University, Washington, DC, Fall 1973: taught graduate lecture/seminar, Modern Architecture

DISSERTATIONS DIRECTED (CWRU)
Michael R. Weil, Jr., Steiglitz’s Dream/O’Keeffe’s Legacy, 2007
Amy Gilman, Organizing Art: Information Theory and Conceptual Art—A Case Study of the Xeroxbook Exhibition, 2005
Bradley Bailey: Duchamp’s Chess Identity: 1917-1923, 2003
Patricia Richmond, Gender and the Forms of Modernism: Dancers and Painters, 2003
Siobhán M. Conaty, Italian Futurism: Gender, Culture, and Power, 2002
Virginia B. Spivey, Performing Relationships: Gendered Subjectivity in the Work of Robert Morris, 2002
Jeffrey D. Grove, Robert Mapplethorpe’s Self-Portraits, 1999
Nancy Stillwagon Carstensen, Edmund C. Tarbell’s Paintings of Women in Interiors: Paintings as Moral Metaphors, 1997
Anne Kirsten Swartz, Psychosexual Strategies of Enclosure: Re-reading Bourgeois and Hesse, 1997
Geraldine Wojno Kiefer, Alfred Stieglitz and Science, 1990; published as Alfred Stieglitz: Scientist, Photographer, and Avatar of Modernism, 1880-1913, (NY and London: Garland Pub.Co., 1991)

UNIVERSITY COMMITTEES (CWRU)
American Studies Steering Committee, Women’s Studies Steering Committee, Judaic Studies Steering Committee, Appointments Committee, Honorary Degree Committee, Executive Committee, W.P Jones Award Committee, Mather Visiting Professor Committee, Graduate Studies Committee, President’s Advisory Committee on Tenure and Promotion (Law School, Mandel School of Applied Social Science and Weatherhead School of Management); Samuel Rosenthal Center for Judaic Studies Advisory Board

PUBLICATIONS
Books in progress:
Mexico and American Modernism, in progress for Yale University Press
Mercedes Matter: Collected Correspondence and Writings, in progress for Yale University Press
Philip Guston


Books and Catalogues Published:

Pollock Matters (McMullen Museum of Art, Boston College, 2007; distributed by University of Chicago Press); exhibition catalogue co-edited with Claude Cernuschi

Reading Abstract Expressionism: Context and Critique, Yale University Press, 2005; includes “Introduction: Abstract Expressionism: Changing Methodologies for Interpreting Meaning,” 1-121

Lee Krasner: A Catalogue Raisonné (written with the assistance of Jeffrey D. Grove); NY: Harry N. Abrams, 1995, 336 pp

Selected Reviews:
Evelyn Toynton, “An Artist, Not a Wife,” The New York Times Book Review, Dec.10, 1995, 26
Joan Marter, “Lee Krasner,” Art Journal, Fall 1996, 88-9
Martica Sawin, “Lee Krasner: A Catalogue Raisonné by Ellen G. Landau,” Woman’s Art Journal, Fall 1997/Winter 1998, 31-2

Jackson Pollock, NY: Harry N. Abrams, and London: Thames & Hudson, 1989, 283 pp.; revised paperback edition, 2005
Selected reviews:
David Anfam, "Of War, Demons and Negation," Oxford Art Journal, 1993, 479-485
Arts Review (London) XLI, Nov. 17, 1989, 825
Orville O. Clark, Jr., "Jackson Pollock," Art and Antiques 7, Mar./Apr. 1990, 65
David Cohen, "Jack the Dripper," Modern Painters (London) 2, Win. 1989/90, 96-98
Carol Engleson, "Jackson Pollock: The Man and the Myth," The Journal of Art 2, Dec. 1989, 28
Roberta Frank, "A Spattered Life," The New York Times Book Review, Jan. 28, 1990, 3,30
"Jackson Pollock," Gazette des Beaux-Arts, VI période, tome CXVI, July-Aug. 1990, 27-28
Stephen Polcari, "Jackson Pollock," Art Journal, Spring 1991, 98-102
Theodore F. Wolff, "Sharpest, Best-Rounded Portrait Yet of 'Drip' Painter Jackson Pollock," The Christian Science Monitor, Dec. 8, 1989, 11

“Artists for Victory”: A Catalogue, Washington, DC: Library of Congress, 1983, 130 pp.
Review: Francis V. O'Connor, "Fifty Years of Government Versus Art," Art Journal 44, Winter 1984, 393-400

Catalogue Essays

“Action/Re-Action: The Artistic Friendship of Herbert Matter and Jackson Pollock,” Pollock Matters (McMullen Museum of Art, Boston College, 2007), 9-58; “Appendix I: Notes on Conservation of the Matter Paintings,” 159-170; “Introduction” (co-written with Claude Cernuschi), 9-58

"Robert Richenburg: What Lies Beneath,” Robert Richenburg (New York: David Findlay, Jr. Gallery, 2004), 1-4.

“Jackson Pollock: The Body and Nature”; “Jackson Pollock and Lee Krasner:‘The Erotics of Influence,’” in Jackson Pollock, The Irascibles and the New York School (Skira editore, Milan, 2002, in conjunction with the Museo Correr and Cultural Mestre/Centre Candiani, Venice, Italy; sponsored by the Centro Italiano per le Arti e la Cultura and the Museo Civici Venezia), 73-90, 173-188

“Jackson Pollock: Number 13, 1950,” in Kyriakos Koutsommalis, ed. Classics of Modern Art, (Turin: Umberto Allemandi & C. in conjunction with the Basil & Elise Goulandris Foundation Museum of Contemporary Art, Andros, Greece, 1999), 140-147, 163

“Alfonso Ossorio: Behind the Congregations,” Alfonso Ossorio: Congregations 1954-1969, Parrish Art Museum, Southampton NY, 1997, 22-29

“Making the Unknown Knowable: Alfonso Ossorio in the 1940s,” Reflection and Redemption: The Surrealist Art of Alfonso Ossorio, 1939-1949, NY: Michael Rosenfeld Gallery, 1996; Greenville County Museum of Art, Greenville SC, 1997, 2-5

Lee Krasner Collages, 1953-1955, NY: Jason McCoy Inc., 1995-96, 2-5

“Jackson Pollock und die Mexikaner,” Pollock/Siqueiros; Siqueiros/Pollock, v. 2, Kunsthalle, Düsseldorf, Germany, 1995, 38-54

"Renegotiating the Center: 25 Years of the Radical in Art," Twenty-Five Years: A Retrospective Exhibition, Cleveland Center for Contemporary Art, Cleveland OH, 1993, 10-41

“Jackson Pollock: ‘The True Painter's Approach,’”Jackson Pollock: Works on Paper and Paintings, Munich, Germany: ACA Galleries, 1993, 4-28

“Sie waren der gleichen Auffassung/Ils partageaient la même croyance,” Lee Krasner - Jackson Pollock: Künstlerpaare–Künstlerfreunde; Dialogues d'artistes–résonances, Prestel Verlag and Kunstmuseum Bern, Switzerland, 1989, 71‑92

“Tough Choices: Becoming a Woman Artist, 1900‑1970,” Making Their Mark: Women Artists Move Into the Mainstream,1970‑1985, NY: Abbeville Press, 1989, 27-44

Co‑author with O. P. Reed, Jr., “Uncle August: His Heritage and Student Years,” August F. Biehle, Jr. Ohio Landscapes, Mather Gallery, CWRU, 1986, 47‑54

“Introduction,” “Notes on the Washington Color Painters,” “Notes on the Paintings,” The Vincent Melzac Collection, Washington DC: Corcoran Gallery of Art, 1971, 9‑17,35‑46,92‑102

“The Illusion of Space in the Works of Thomas Downing, Paul Reed and Howard Mehring,” Washington–Twenty Years, Baltimore MD: The Baltimore Museum of Art, 1970, 13‑16 [published under the name Ellen Hope Gross]

Journal and Anthology Essays

“Double Consciousness in Mexico: How Philip Guston and Reuben Kadish Painted a Morelian Mural,” American Art, Spring 2007, 74-97 (winner of Frost award)

AMexico and American Modernism: The Case of Jackson Pollock,@ in Joan M. Marter, ed., Abstract Expressionism: The International Context, Rutgers University Press, 2007, 165-81

“The Pollock-Krasner House and Study Center,” American Art (Spring 2005) 28-31; special issue on artists’ homes and studios ed. by Wanda Corn

"Prologue,” in Irene Herner, Siqueiros: Del Paraíso a la Utopía (Mexico City: CONACULTA, 2005) 15-20

“Performing the Self and the Other: Portraits and Self-Portraits by Diego Rivera and Frida Kahlo,” Crónicas: El Muralismo, Producto de la Revolución Mexicana en América (Instituto de Investigaciones Estéticas, Universidad Nacional Autonoma de México), March 2002-Feb.2003, 15-34

“‘Classic in its own little way’: The Art of Woody Guthrie,” in Emily Davidson and Robert Santelli, eds., Hard Travelin’: The Life and Legacy of Woody Guthrie (Wesleyan University Press, in conjunction with the Rock and Roll Hall of Fame and Museum, 1999) 83-110.

“Channeling Desire: Lee Krasner’s Collages of the Early 1950s,” Woman’s Art Journal, Fall 1997/Winter 1998, 27-30; reprinted in Jackson Pollock, the Irascibles and the New York School (Skira editore Milan, 2002) 189-193

“A Rediscovered Drawing by Jackson Pollock,” Drawing 15, Nov.-Dec. 1993, 78-79

“Cindy Sherman déconstruite? Une reconstruction,” Les Cahiers du musée national d'art moderne, Centre Georges Pompidou, Paris, 40, Summer 1992, 36-47

“Jackson Pollock‑‑L'equipée sauvage,”Les Cahiers du musée national d'art moderne, Centre Georges Pompidou, Paris, 23, Spring 1988, 7‑28

“‘A Certain Rightness’: Artists for Victory's 1943 America in the War Show,” Arts Magazine, Feb.1986, 43‑54

“‘Space and Pictorial Life’: Hans Hofmann's Smaragd Red and Germinating Yellow,” Bulletin of the Cleveland Museum of Art, Sept.1985, 310‑322

“Lee Krasner's Past Continuous,” Art News, Feb.1984, 68‑77

“‘A Fairytale Circumstance’: The Influence of Stage Design on François Boucher," Bulletin of the Cleveland Museum of Art, Nov. 1983, 360‑378

“Lee Krasner's Early Career, Part One: ‘Pushing in Different Directions,’” Arts Magazine, Oct. 1981, 110‑122

“Lee Krasner's Early Career, Part Two: The 1940s,” Arts Magazine, Nov. 1981, 80‑89

“The French Sources for Hans Hofmann's Ideas on the Dynamics of Color‑created Space,” Arts Magazine, Oct. 1976, 76‑81

“Study in National Trust Portraits,” Historic Preservation, Apr.‑June 1975, 30‑37

Reviews
“Linda Butler,” Northern Ohio Live, Sept. 1999

Ann Gibson, Abstract Expressionism: Other Politics (Yale, 1997), Woman’s Art Journal, 20 (Spring/Summer 1999) 59-61

“Holly Morrison,” Northern Ohio Live, Sept. 1998

“Interview: ‘Nicht das Werk eines Trinkers’: Ellen Landau über den falschen Mythos um Pollock,” Focus no. 44, Oct. 26, 1998, 166

Anne Middleton Wagner, Three Artists (Three Women): Modernism and the Art of Hesse, Krasner and O’Keeffe (Univ. of California Press, 1996), The Art Bulletin, Dec. 1997, 11-14

“Kenneth Dingwall Painter,” Northern Ohio Live 18, Sept. 1997

“‘Cruciformed’: Center for Contemporary Art, Cleveland,” Artforum 30, Dec. 1991, 107

“Edwin Mieczkowski: Neo‑Constructivism 1987,” Dialogue: An Art Journal, Mar.‑Apr. 1987, 58-59

“Aspects of the Fifties,” Art Journal, Fall/Winter 1980/81, 387‑389

Dictionary Entries and Catalogue Research
“Lee Krasner,” and “Jackson Pollock,” American National Biography, Oxford University Press, 1999; v. 12, 902-904; v. 17, 639-643

“Lee Krasner,” Dictionary of Art, Jane Shoaf Turner, ed., London: Macmillan Publishers Ltd., 1996

Entries on American Art of the 1940s-‘60s, Gerard Durozoi ed., Dictionnaire d'art moderne et contemporain, Paris: Hazan Editions, 1992

Research for:
Weston Naef, The Alfred Stieglitz Collection, The Metropolitan Museum of Art, NY, 1978

Phyllis Rosenzweig, Thomas Eakins Collection of the Hirshhorn Museum and Sculpture Garden, Washington, DC: HMSG, 1977

Hermann Warner Williams, Jr., Mirror to the American Past: A History of American Genre Painting, Greenwich CT: New York Graphic Society, 1973

PAPERS PRESENTED

“Becoming Pollock: Landscape and Figuration in Full Fathom Five, 1947,” American Icons, New-York Historical Society, May. 2008

“Dance as a Weapon: Isamu Noguchi’s History as Seen from Mexico, 1936,” 96th Annual Conference of the College Art Association, Dallas TX, Feb. 2008

“Action/Re-Action: The Artistic Friendship of Herbert Matter and Jackson Pollock,” Everson Museum of Art, Syracuse NY, Feb. 2008

“Double Consciousness in Mexico: How Philip Guston and Reuben Kadish Came to Paint a Morelian Mural,” Museo Regional de Michoacán, Morelia MX, Oct. 2007

“’No Chaos, Damn It’: Pollock, Namuth and Muralistic Space,” Picturing Pollock, Stephen F. Austin State University, Nacogdoches TX, March 2007

“Mexico and American Modernism,” Painting National Identities: Art in Mexico and the United States, 1750-1950, Museo Nacional de Arte, Mexico City, Feb. 2007

“Predicting Fetishism: Alfonso Ossorio’s Taos Drawings, 1940-41,” Surrealism and the American West, Arizona State University, Tempe, Oct. 2006

“Pollock Matters,” 94th Annual Conference of the Colllege Art Association, Boston, Feb. 2006; expanded version, Jackson Pollock at Williams College: A Tribute to Kirk Varnedoe, Williams College, Williamstown MA, April 2006

“Mexico and American Modernism: The Case of Jackson Pollock,” All-over: Abstract Expressionism’s Global Context, Symposium co-sponsored by the Pollock-Krasner House and Study Center and the Dept. of Art, Art History and Criticism, Stony Brook University, April 2005

ASiqueiros and the Americans,@ David Alfaro Siqueiros: XXXI Aniversario Luctuoso, Sala de= Arte Publico Siqueiros, Mexico City, Jan. 2005

“Effacing the Scottsboro Boys: Censorship as Discourse,” Annual Meeting of the American Studies Association, Atlanta GA, Nov. 2004

“Where ‘Vandals’ Wrecked Paintings: The Suppression of Art in Depression-era Los Angeles,” 2nd International Conference on New Directions in the Humanities, Prato, Italy, July 2004

“Philip Guston in Mexico,” Institute for Advanced Study, Princeton NJ, Mar. 2004

“Pollock’s 1950 Exhibition in Venice: Two Key Themes,” Save Venice, NY, Mar. 2004

“Mexico and American Abstraction,” International Conference on New Directions in the Humanities, Island of Rhodes, Greece, July 2003

“Jackson Pollock: Originality and Influence,” Museo Correr, Venice, Italy, Mar. 2002

“Being Jewish in Mexico: Guston and Kadish’s Morelia Mural 1934-35,” 13th World Congress of Jewish Studies, Jerusalem, Israel, Aug. 2001

“‘The Erotics of Influence,’” 3rd International Conference on Gender and Equity Issues: Humanistic Considerations for the 21st Century, Bangkok, Thailand, Jan. 2001

“Time and Ideology in Guston and Kadish’s The Struggle Against War and Fascism,” Art History for the Millennium: Time, 30th International Congress of the History of Art, London, England, Sept. 2000

“‘Pictures painted on the inside walls of his mind...’: Jackson Pollock’s Re-reading of Mexican Muralism,” Symposium, Revision of 20th Century Muralism (from the ‘20s to the ‘40s): Mexico-United States; Instituto de Investigaciones Estéticas, Universidad Nacional Autonoma de México, Mexico City, Aug. 2000

“The Painters: Jackson Pollock and Lee Krasner–Husband and Wife,’” The Robert and Clarice Smith Center for Art History, Hebrew University, Jerusalem, Israel, June 2000

“‘Their Patron Crowed Over Two Continents’: Philip Guston and Reuben Kadish’s The Struggle Against War and Fascism,” 87th Annual conference of the College Art Association, Los Angeles CA, Feb.1999

“Performing the Self and the Other: Portraits and Self-Portraits by Diego Rivera and Frida Kahlo,” Symposium, Diego Rivera: A Transcultural Dialogue, Cleveland Museum of Art, Cleveland OH, Feb.1999

“‘Classic in its own little way’: The Visual Art of Woody Guthrie,” Pollock-Krasner House and Study Center, East Hampton NY, July 1998

“Alfonso Ossorio: Behind the Congregations,” Co-sponsored by the Pollock-Krasner House and Study Center, East Hampton NY and the Parrish Art Museum, Southampton NY, Aug. 997

“Alfonso Ossorio: Behind the Congregations,” 24th Annual Meeting of the Midwest Art History Society, Dallas TX, Mar. 1997

“‘Little Man in Big Sea’: Jackson Pollock and the Mural Environment,” 7th Annual Front Range Symposium in the History of Art, University of Colorado, Colorado Springs CO, Sept. 1996

“Reconsidering Jackson Pollock and the Mexicans,” 18th American Culture Association Annual Meeting, Las Vegas NV, Mar.1996

“Past Conditional: Krasner and Collage,” Symposium, Lee Krasner: Formation and Re-Formation, Pollock-Krasner House and Study Center, East Hampton NY, Aug.1995

“Channeling Desire: Lee Krasner's Collages of the Early 1950s,” 83rd Annual Conference of the College Art Association, San Antonio TX, Jan.1995

“Jackson Pollock at Atelier 17,” Symposium, New Ways of Gravure: Printmaking Innovations at Atelier 17, Pollock-Krasner House and Study Center, East Hampton NY, July 1993

“‘Today's Painter of Painters’: Picasso, Still Lifes and the Early New York School,” Symposium, Picasso and Things: The Still Lifes of Picasso, Cleveland Museum of Art, Cleveland OH, Feb.1992

“Re-constructing the Deconstructed Cindy Sherman,” 80th Annual Conference of the College Art Association, Inc., Chicago IL, Feb. 1992

“Jackson Pollock's Prints,” Associates Symposium: Prints of the 1940s, Department of Prints and Illustrated Books, The Museum of Modern Art, NY, Apr.1991

“A Career in Context,” Symposium, Pollock Re‑examined, Allen Memorial Art Museum, Oberlin College, Oberlin OH, Mar. 1990

“Male Support and Romantic Entanglements for Women Artists,” 77th Annual Conference of the College Art Association, San Francisco CA, Feb. 1989

“‘Image Surfacing’: Lee Krasner in the l940s,” Symposium Honoring Lee Krasner, State University of New York at Stony Brook, Sept. 1988

“‘The Wild One’: Jackson Pollock's media image in the l950s,” 75th Annual Conference of the College Art Association, Inc., Boston MA, Feb. 1987

“‘A Certain Rightness’: Artists for Victory's 1943 America in the War Show,” 10th Biennial American Studies Association Convention, San Diego CA, Oct. 1985

“‘Climbing a Mountain of Porcelain’: Lee Krasner in the l930s,” Midwest Art History Association Annual Meeting, Bloomington IN, Mar.1985

“Lee Krasner: Pioneer and Catalyst of Abstract Expressionism,” Symposium, American Women in the Visual Arts 1880‑1980, University of Pittsburgh, Pittsburgh, PA, Mar.1980

“Past‑Continuous: Lee Krasner and the Early Years of Abstract Expressionism,” Symposium, Abstract Expressionism: Idea and Symbol, University of Virginia, Charlottesville VA, Oct.1979

PANELS and SESSIONS CHAIRED

Panelist, Conferencia: La Inquisicíon, un mural olvidado, Museo Regional Michoacano, Morelia, Mexico, May 2004; sponsored by Intercambio Arte y Cultura, AC

Co-Chair, “Re(de)fining Abstract Expressionism,” 91st Annual Conference of the College Art Association, New York NY, Feb. 2003

Chair, “Art(iculating) Jazz: High and Low,” 22nd American Culture Association Annual Meeting, New Orleans LA, Apr. 2000

Chair, “Swing Culture High and Low: Entertainment and Culture,” Symposium, At the Swing Cat’s Ball: Louis Jordan’s Rhythm and Blues, co-sponsored by CWRU/Rock and Roll Hall of Fame and Museum, Cleveland OH, Oct. 1999

Co-Chair, “Art and Social Meaning in the 1930s: Paradigms and Paradoxes,” 21st American Culture Association Annual Meeting, San Diego CA, Mar-Apr 1999

Chair, “The Visual and Literary Culture of the Blues,” Symposium, Hellhound on My Trail: Robert Johnson and the Blues, co-sponsored by CWRU/Rock and Roll Hall of Fame and Museum, Cleveland OH, Sept.1998

Chair, “The Visual Culture of Jimmie Rodgers’ America,” Symposium, Waitin’ for a Train: Jimmie Rodgers’ America, co-sponsored by CWRU/Rock and Roll Hall of Fame and Museum, Cleveland OH, Sept. 1997

Respondent, “Visible Difference: Revisioning Gender, Sexuality and Desire in Abstract Expressionist Art,” National Women’s Studies Association, St. Louis MO, June 1997

Panelist, “The Politics of Identity Politics,” Cleveland Center for Contemporary Art, Cleveland OH, Mar. 1997

Co-chair, “Biography as Method,” 85th Annual Conference of the College Art Association, New York NY, Feb. 1997

Chair, “American Art and Architecture: Post-War Art and Aesthetics,” 18th American Culture Association Annual Meeting, Las Vegas NV, Mar. 1996

Chair, “Contemporary Art,” Midwest Art History Society Annual Meeting, Columbus OH, Apr. 1992

Panel Moderator, The Spirit of the Monument: An Oldenburg/Van Bruggen Symposium, Cleveland Museum of Natural History, Cleveland OH, Apr.1992

Panelist, Symposium, Beyond the First Amendment: Censorship, Art and Moral Responsibility, Cleveland Museum of Art, Cleveland OH, Apr.1991

Panel Moderator (morning session), Symposium, Reckoning with American Art: Asking the Questions, Putting on the Shows, Cleveland Museum of Art, Cleveland OH, Oct. 1990

Chair, “Modern Art,” Mid‑America Conference of the College Art Association, Cleveland OH, Oct. 1984

SELECTED PUBLIC LECTURES
Cleveland Museum of Art, Nov. 2007; sponsored by the Women’s Council
University of Toledo, Toledo OH, Mar. 2004
Rutgers, The State University of New Jersey, New Brunswick NJ, Feb. 2004
American Academy in Rome, Jan. 2002; sponsored by the Centro Italiano per le Arti e la Cultura
Savannah College of Art and Design, Savannah, GA, Mar. 2000
Akron Art Museum, Akron OH, April 1999; Aug. 2000
Pollock-Krasner House and Study Center, East Hampton NY; co-sponsored by the Parrish Art Museum, Southampton NY, Aug. 1997
Cleveland Museum of Art, Cleveland OH, May 1996; sponsored by The Print Club of Cleveland
Guild Hall, East Hampton NY, Aug.1995
Hunter College of the City University of New York, NY, Oct.1994
Pollock‑Krasner House and Study Center, East Hampton NY, July 1993, 1992, l991, 1990
Provost's Lecture, Georgetown University, Washington DC, Feb. 1991
Kalamazoo Art Institute, Kalamazoo MI, Dec.1991
Lafayette College, Easton PA, Mar.1991
Kent State University, Kent OH, Apr.1990
Parrish Art Museum, Southampton NY, June 1990; Distinguished Author's Lecture
Kunstmuseum Bern, Switzerland, Nov.1989
Cleveland Institute of Art, Cleveland OH, Feb. 1989
Cleveland Museum of Art, Cleveland OH, May 1984; sponsored by the Cleveland Society for Contemporary Art
Columbus Museum of Art, Columbus OH, July 1983; three-part Summer Lecture Series, “French and American Impressionism”
Akron Art Museum, Akron OH, Dec.1983
Yale University, New Haven CT, Jan.1982
National Collection of Fine Arts, Washington DC, June 1979; Fellows Lecture Series
Woodlawn VA, Fall 1974, 1975; Woodlawn Conference for Historic House Administrators


GALLERY AND MUSEUM EXPERIENCE

Guest Curator, “Pollock Matters,”McMullen Museum of Art, Boston College, Sept. 1-Dec. 9, 2007; Everson Museum of Art, Syracuse NY, Dec. 21, 2007-Mar. 20, 2008 (named one of 10 Best of 2007 by The Boston Globe)

Guest Curator, “Lee Krasner's Collages, 1953-55,” Jason McCoy Inc., New York NY, Dec. 5, 1995-Jan. 30, 1996

Curatorial Consultant, “Lee Krasner Drawings: Process and Transformation,” Pollock-Krasner House and Study Center, East Hampton NY, Aug.3-Oct.28, 1995

Program Advisory Board, Cleveland Center for Contemporary Art, Cleveland OH, 1992-1996

Professional Appraisal and Evaluation Committee, National Museum of American Art, Smithsonian Institution, Washington DC, 1989-1992

Co‑curator, “Lee Krasner–Jackson Pollock: Künstlerpaare–Künstlerfreunde; Dialogues d'artistes –résonances,” Kunstmuseum Bern, Switzerland, Nov. 21, l989‑Feb. 2, 1990

Catalogue director and editor, “August F. Biehle, Jr. Ohio Landscapes,” Mather Gallery, Thwing Center, Case Western Reserve University, Cleveland OH, Oct.‑Nov. 1986

Guest Curator, Mather Gallery, Thwing Center, Case Western Reserve University, Cleveland OH, “The Faculty Collects,” Oct.‑Nov. 1984

Guest Curator, Library of Congress, Washington DC, Feb. 2-July 31, 1983; “‘America in the War: An Exhibition by Artists for Victory, Inc."; traveled to Virginia, Texas, and Ohio

Assistant Curator, Historic Properties, National Trust for Historic Preservation, Washington DC, Nov. 1973‑Jan.1976; devised and implemented the first computerized inventory in the USA for decorative arts objects, researched and cared for objects in the collections

Research Assistant, Bicentennial Inventory of American Paintings Executed Before 1914, National Collection of Fine Arts, Smithsonian Institution, Washington DC, May‑Sept. 1972

Research Assistant to Chief Curator, The Corcoran Gallery of Art, Washington DC, July l969‑July 1971; worked with curator James Pilgrim on routine curatorial duties, helped plan and implement four exhibitions: “Robert Morris,” “Alexander Liberman Retrospective,” “The H. Marc Moyens Collection,” “The Vincent Melzac Collection”

Student Assistant to the Director, Andrew Dickson White Museum, Cornell University, Ithaca NY, Fall l968‑Spring 1969; worked with Thomas Leavitt on preparations for an exhibition of Die Brücke

Information Guide and Researcher, National Collection of Fine Arts, Washington DC, Summer Intern, 1968

Docent, Andrew Dickson White Museum, Cornell University, Ithaca NY, Sept. l966‑June 1969

PROFESSIONAL ORGANIZATIONS AND AFFILIATIONS

Contemporary Art Society of Cleveland, Executive Board, 2003-2007
Northeast Ohio Hillel Board of Trustees Member, 2003-2007
Pollock-Krasner Authentication Board, Inc., Vice President, 1990-1996
Visual Arts Panel, Cleveland Arts Prize/Annual Award for Creative Achievement in the Fine Arts, Women's City Club of Cleveland; Member 1993-2002; Chair 1994-99
College Art Association
Midwest Art History Society
American Studies Association
American Culture Association
Association of Historians of American Art
Catalogue Raisonné Scholars Association