In collaboration with art historian Nancy Locke (Penn State), I organized a panel for the 2018 Nineteenth-Century Studies Association conference, titled “Time, Memory, and Impression: Framing Experience in the Later Nineteenth Century.” Panelists included Lauren S. Weingarden (Florida State) on Baudelaire’s vision of Charles Meryon’s Eaux-fortes sur Paris (1850-4); Jeremy Melius (Tufts) on Walter Pater’s thinking about sensation during the 1860/70s and Andre Dombrowski (University of Pennsylvania) on the standardization of time and Monet’s landscapes. Nancy Locke was the panel’s respondent. The conference program is available here.
In 2018, I gave a talk at the annual College Art Association Conference in Los Angeles as part of a session organized by the Society of Paragone Studies. Entitled “Against Paragone: Alfred Jarry and Paul Gauguin,” I examined one of Jarry’s poems that he wrote after Gauguin’s Tahitian paintings, L’homme à la hache (1891), after seeing them in the fall of 1893. Jarry gave his poems to the artist and Gauguin placed the manuscript in an artist portfolio that is now in the collection of the Metropolitan Museum of Art. The panel can be found here in the conference program.
For the 2018 College Art Association Annual Conference, I and art historian Juliet Bellow (American University) organized the panel “Inter-Arts Exchange as Modernist Method, circa 1900.” Panelists included Emmelyn Butterfield-Rosen (Williams College), who spoke about Vaslav Nijinski’s ballet The Afternoon of a Faun (1912), Katherine Brion (New College), who discussed Maurice Denis’s History of Psyche (1908), and Juliet Bellow, who presented on Auguste Rodin and Loïe Fuller’s relationship and their shared interest in photographs from her book project, Rodin’s Dancers: Moving Toward the Limits of Sculpture.
In 2017, I received the annual Van Gogh Museum Research grant. The grant is given to recent art history graduates in support of research towards publication. The museum awarded the grant to aid in my research on Paul Gauguin and Charles Morice’s collaboration on the artist’s travelogue Noa Noa. The award was announced by the CUNY Graduate Center.
I wrote a review of Marc Gotlieb, The Deaths of Henri Regnault (Chicago: University of Chicago Press, 2016) for caa.reviews, which was published in late 2017. When I began reading Gotlieb’s book in late 2016, I was struck by how the book was written during the Obama administration, but would be read during the Trump administration, similar to how Regnault lived during the more liberal Second Empire, but his legacy was shaped by the “moral order” of the Third Republic.
I organized and moderated a panel on “Symbolist transpositions d’art at the Fin de Siècle” for the annual Nineteenth-Century French Studies Association Colloquium that took place November 9–11, 2017. Participants included Louis Marvick (University of Nevada, Reno) who spoke on Stéphane Mallarmé and Gustave Moreau’s shared interest in the figure of Salome, Diana Schiau-Botea (Independent Scholar), who talked about Odilon Redon and Stéphane Mallarmé’s relationship and Jennifer Johnson (St John’s College, University of Oxford), who examined Georges Rouault’s conversations in his work with that of Gustave Moreau and Alfred Jarry. The conference program can be found here.
I wrote a short essay for the London School of Economics US Centre American Politics and Policy Blog shortly after the 2016 election. The essay applies insights from my dissertation on Paul Gauguin to the issue of president-elect Donald Trump’s campaign against civil rights.
I presented my research on Alfred Jarry’s poem “L’Homme à la hache” (1893-4) and Paul Gauguin’s painting L‘Homme à la hache (1891) at the annual conference of the Association of Art Historians, held at Edinburgh University in April 2016. Jarry’s poem was published in his artist’s book Les Minutes de sable mémorial (1894) and is one of three poems that he wrote after Gauguin’s paintings. (The Société des Amis d’Alfred Jarry recently issued a true-to-original facsimile as issue 130-1 of their journal L’Étoile-Absinthe.) I participated in the Saturday morning session “Having Words: Artist-writer relationships.”
I was invited to participate in the Summer Institute in Technical Art History organized by the Conservation Center of the Institute of Fine Arts in 2014. The session was dedicated to study of materials and processes used in artist’s books. As I discussed in a post on the workshop’s blog, there are many resources in NYC for folks interested in learning historical techniques first-hand. In my dissertation research on Paul Gauguin, I examine early precursors of the artist book, such as Le Corbeau (1875), a French translation of Edgar Allen Poe’s “The Raven” by Stéphane Mallarmé that was illustrated by Edouard Manet.
In 2013, the NEA Foundation awarded our research team a Learning and Leadership Grant for pedagogical research on instructional techniques designed to foster students’ self-regulatory strategies and enhance students’ ability to write analytically. The grant offers up to $5,000 for educators engaged in group projects, including studies by Higher Ed instructors at public institutions. My fellow co-investigators included Andrea Salis (QCC), Beth Counihan (QCC) and Gloria McNamara (BMCC). We presented our research design at a 2012 Quinnipiac University WAC/WID conference and our preliminary results at the annual conference of the Northeast Educational Research Association in 2014. The results of our research underwent peer review by an educational psychology journal and we plan to re-submit a revised essay based upon the feedback we received.