List of Contributors

Hudson, Suzanne; Sheehan, Tanya

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List of Contributors

Suzanne Hudson (Editor), Tanya Sheehan (Editor)

Modernism, Art, Therapy

List of Contributors

Author

Suzanne Hudson (Editor), Tanya Sheehan (Editor)

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-32165

List of Contributors

ABOUT THE EDITORS

Suzanne Hudson is professor of art history and fine arts at the University of Southern California, where she also served as a faculty fellow in the USC Society of Fellows (2019–21). She is an art historian and critic whose research spans the nineteenth through the twenty-first centuries with special emphasis on the history, theory, and conventions of painting within art schools and alternative pedagogical institutions, which include spaces of care work and medical and psychological services. She completed two terms as a member of both the editorial board of caa.reviews and the advisory board of the Archives of American Art Journal. A regular contributor to Artforum for twenty years, she has written numerous critical essays for international exhibition catalogs and artist monographs. She is the author of books including Robert Ryman: Used Paint (2009, 2011, 2024), Agnes Martin: Night Sea (2017, 2020), and Contemporary Painting (2021), and coeditor of Contemporary Art: 1989–Present (2013). She is currently at work on Better for the Making: Art, Therapy, Process, a study of the therapeutic origins of process within American modernism.

Tanya Sheehan is Ellerton M. and Edith K. Jetté Professor of Art at Colby College. Across her career, Sheehan has worked at the intersection of American art history, medical humanities, and critical race studies. This work includes two books, Doctored: The Medicine of Photography in Nineteenth-Century America (2011) and Study in Black and White: Photography, Race, Humor (2018), and four edited volumes, most recently Photography and Migration (2018). Supported by fellowships at Harvard University and the Center for Advanced Study in the Visual Arts at the National Gallery of Art, her current book project examines the subjects of medicine and public health in modernist and contemporary art by African Americans. Since 2015 she has served as executive editor of the Smithsonian Institution’s Archives of American Art Journal.

ABOUT THE CONTRIBUTORS

Elizabeth Buhe is a widely published critic and art historian based in New York whose writing addresses expansive modernisms, spatial ontologies, and theories of perception and embodiment in art of the twentieth and twenty-first centuries. She is completing a book provisionally titled Beside Painting on Sam Francis and perception. Buhe holds a PhD from the Institute of Fine Arts—New York University and has taught at the Whitney Museum of American Art and Fordham University. Her scholarship has been supported by the Fulbright Program, Luce Foundation, Smithsonian American Art Museum, Getty Research Institute, Courtauld Institute of Art, and Terra Foundation for American Art, among others.

Kaira M. Cabañas is associate dean for academic programs and publications at the Center for Advanced Study in the Visual Arts (The Center) at the National Gallery of Art, Washington, DC. She is the author of multiple volumes, including Immanent Vitalities: Meaning and Materiality in Modern and Contemporary Art (2021) and Learning from Madness: Brazilian Modernism and Global Contemporary Art (2018), which was published in Portuguese by Martins Fontes in 2023.

Julian Chehirian is a PhD candidate at Princeton University in the Program for the History of Science and a fellow in its Interdisciplinary Doctoral Program in the Humanities. His dissertation project examines the art-therapeutic studio as a site of knowledge making and interdisciplinary research in the post–World War II period. He was previously a Fulbright researcher in Bulgaria, where he studied intertwined histories of psychotherapy, psychiatry, and art making in the state-socialist period. His publications have appeared in the journal Culture, Medicine, and Psychiatry and in edited volumes with Columbia University Press and Bloomsbury. His practice-based research appears at the 60th Venice Art Biennale, and has been shown in exhibitions in Washington, DC, Toronto, Ontario, and Sofia, Bulgaria.

Peter Sachs Collopy is university archivist at Caltech. As a historian of science, technology, and media, he has published on video and evolutionary thought in Transbordeur, IEEE Annals of the History of Computing, Journal of the History of the Behavioral Sciences, and Video Theories: A Transdisciplinary Reader. He is the principal investigator of the Pacific Standard Time 2024 research and exhibition project Crossing Over: Caltech and Visual Culture, 1920–2020, and an editor of History of Anthropology Review.

Jackson Davidow is the John R. and Barbara Robinson Family Curatorial Fellow in Photography at the Harvard Art Museums. He was previously a postdoctoral fellow in the Translating Race Lab and at the Center for the Humanities at Tufts University. He studies contemporary queer, feminist, decolonial, and Black aesthetic practices of activism and therapy as well as the history and theory of photography. He has published his research in American Art and the edited volume Otherwise: Imagining Queer Feminist Art Histories (2015). His essays and reviews have appeared in Art in America, Artforum, the Baffler, Boston Review, Frieze, and the Los Angeles Review of Books. His current book project examines global AIDS cultural activism in the 1980s and 1990s.

Leah Gipson is an associate professor in the Art Therapy and Counseling Department at the School of the Art Institute of Chicago. As a multidisciplinary artist, she explores cultural histories and the politics of placemaking to explore multiple strategies of social transformation. Her artistic practice is informed by her clinical professional experiences of working with youth and adult survivors of sexual violence, adults living with addiction, incarcerated and returning women, women experiencing homelessness, and individuals living in psychiatric and residential homes. Her understanding of art therapy comes from Black feminism and the Black church, emphasizing women’s and girls’ roles in community leadership. She has been working on projects in the West Side neighborhoods of Chicago since 2009 to address problems of inequality, launching a series of collaborative participatory projects that focus on care and support for Black artists and activists and their communities. Her most recent project, Care Sessions, brings local artists, organizers, students, and community members together to support families who are bereaved and impacted by state and gender-based violence.

Elizabeth Lee is associate professor of art history at Dickinson College, where she teaches courses in modern, contemporary, and American art. Her research, which addresses the relationship between medicine, health, and the body, has appeared in publications including American Art, Archives of American Art Journal, and the Journal of American Culture. Her book The Medicine of Art: Disease and the Aesthetic Object in Gilded Age America (2022) argues that works of art by John Singer Sargent, James McNeil Whistler, Abbott Thayer, and Augustus Saint-Gaudens were marked by disease—cancer, tuberculosis, and syphilis—and shows how art itself functioned in medicinal terms. A chapter from the book on the collector Charles Freer serves as the basis for a chapter in The Routledge Companion to Art and Disability (2022). These projects inform her current research on Henri Matisse and art therapy.

Matthew MacKisack is a writer and historian interested in the relationships between modernity, artistic practice, and the mind. He was recently a guest research fellow at China Academy of Art, Hangzhou, and formerly an associate research fellow at the University of Exeter Medical School. In 2018 he coedited a special imagination-themed issue of the cognitive neuroscience journal Cortex. In 2019 he co-curated the UK touring exhibition Extreme Imagination: Inside the Mind’s Eye, which explored the impact of individual differences in imagery experience on the creative process. His current book project takes a historical approach to the same theme.

Justus Nieland is professor and chair of English and teaches in the Film Studies Program at Michigan State University. He is the author of Happiness by Design: Modernism and Media in the Eames Era (2020), short-listed for the 2021 Modernist Studies Association Book Prize; David Lynch (2012); and Feeling Modern: The Eccentricities of Public Life (2008), and coauthor of Film Noir: Hard-Boiled Modernity and the Cultures of Globalization (2010). With Jennifer Fay, he coedits the Contemporary Film Directors book series at the University of Illinois Press. His work has also appeared in venues such as Modernism/modernity, Journal of Cinema and Media Studies, Post45, and Los Angeles Review of Books.

Dana Ostrander is assistant curator of modern art at Washington University’s Mildred Lane Kemper Art Museum. Her research considers intersections between photography and the history of medicine, focusing on disability, race, and sexual identity. She received a PhD in art history from the University of Illinois, Urbana-Champaign, and has held curatorial positions at the Museum of Modern Art, New York, and the Santa Barbara Museum of Art. Her writing has appeared in the exhibition catalogue Our Selves: Photographs by Women Artists from Helen Kornblum (2022) and the peer-reviewed publication Lapis: The Journal of the Institute of Fine Arts.

Elizabeth Otto is professor of modern and contemporary art history at the University at Buffalo, State University of New York. Her work focuses on early twentieth-century art, design, and photography, particularly in relation to issues of gender. In 2019, she published Haunted Bauhaus: Occult Spirituality, Gender Fluidity, Queer Identities, and Radical Politics and, with Patrick Rössler, Bauhaus Women: A Global Perspective. She has coedited five books, including Passages of Exile (2017) and Bauhaus Bodies (2019). Her essays and reviews have been published in journals including Artforum, October, and History of Photography, and her work has been supported by the Alexander von Humboldt Foundation, the Center for Advanced Study in the Visual Arts, the Getty Research Institute, the National Humanities Center, and the US Holocaust Memorial Museum.

Mona Schieren is professor of transcultural art histories at the University of the Arts Bremen in Germany. She has published widely on modern and contemporary art, including a book on American artist Agnes Martin in 2016, which was awarded the Terra Foundation for American Art’s International Publication Prize. She is coeditor of FKW: Journal for Gender and Visual Culture. Topics of her current research of transcultural studies in modern and contemporary art include fibre art, the history and theory of body practices, as well as history politics and trauma theory. She recently coedited with Cathrine Bublatzky, Burcu Dogramaci, and Kerstin Pinther Entangled Histories of Art and Migration: Theories, Sites and Research Methods (2024).

Danielle Stewart is a curator and head of academic initiatives at the Nora Eccles Harrison Museum of Art at Utah State University. From 2020 to 2023, she was assistant professor of modern and contemporary Latin American art at the University of Warwick in Coventry, UK. Prior to that appointment, she held a postdoctoral research fellowship with the Princeton Mellon Initiative in Architecture, Urbanism, and the Humanities. Her research foregrounds the intersections of photography, urbanism, and social change in mid twentieth-century Brazil. She has presented and published her research internationally, most recently in the edited volumes Historical Narratives of Global Modern Art: An Anthology (2023) and Mulheres fotógafas/mulheres fotografadas (2021).

Jacob Stewart-Halevy is associate professor in history of art and architecture at Tufts University and a visiting research fellow in anthropology at the University of Texas at Austin. He works on the nexus of modern and contemporary art, intellectual history, and social theory. His publications include the book Slant Steps: On the Art World’s Semi-Periphery (2020), contributions to edited volumes, and articles in peer-reviewed journals such as October, Journal of Art Historiography, Archives of American Art Journal, and Contemporary European History.

Oscar Svanelid is a postdoctoral researcher in art history at Södertörn University, Stockholm. His research interests include Brazilian modernism, Indigenous contemporary art, and sociopolitical dimensions of public art. He is the author of the book Shaping Lives: Constructivism as Artistic Labour in Geraldo de Barros, Lygia Pape and Lygia Clark (2021) and has contributed to edited volumes, and articles in journals such as Third Text.

Jennifer Way is a professor of art history at the University of North Texas, where she teaches courses on craft and conflict as well as American art and healing. Her book The Politics of Vietnamese Craft: American Diplomacy and Domestication (2019) explores how Americans appropriated a foreign art form in programs that intersected their diplomatic agendas and domestic lives with South Vietnam on questions of Vietnamese belonging in the Free World, 1955 to 1961. She is completing an anthology titled Craft and War and a monograph titled Craft, Wellness, and Healing in Contexts of War.

Imogen Wiltshire is senior lecturer in art history and visual culture at the University of Lincoln, UK. She is also the review editor at Sculpture Journal (Liverpool University Press). Her current book project examines the relationships between therapeutic art making and modern art practices in the UK and the United States. She is coeditor, with Fransiska Louwagie, of Displacement, Memory and the Visual Arts: Second-Generation (Jewish) Artists, a special issue of European Judaism (Berghahn, spring 2023). In the fall of 2021 she launched, with Fiona Johnstone and Allison Morehead, Confabulations: Art Practice, Art History, Critical Medical Humanities, a two-year online international seminar series on health, medicine, and medicalized bodies, leading to an edited volume, Art and the Critical Medical Humanities.

Margot Yale is a PhD candidate in the Department of Art History at the University of Southern California, where she is a provost fellow. Her research on American art, popular culture, and print history focuses on artistic communities and pedagogy, government-funded art, left-leaning political commitment, and the racial and gender diversity of America’s body politic in the long 1930s. Her work has been supported by the Visual Studies Research Institute at USC. She has curated exhibitions at Equity Gallery, New York; Kings County Hospital, Brooklyn (with the No Longer Empty Curatorial Lab); and the Princeton University Art Museum, and contributed to exhibitions and collection research as a cataloguer of drawings and prints at the Museum of Modern Art in New York.

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