Chametzky, p. 1
Peter Chametzky Professor of Art History & Director, School of Visual Art and Design University of South Carolina [email protected]
FULL TIME ACADEMIC EXPERIENCE Director, School of Visual Art and Design, University of South Carolina, April 2014 - Jan. 2018 Chair, Department of Art, University of South Carolina, January 2013 – April 2014 Professor of Art History, University of South Carolina, August 2012 - date Professor of Art History, Southern Illinois University, Carbondale, 2010 – 2012 Director, School of Art and Design, SIUC, August 2009 – August 2012 Interim Director, School of Art and Design, SIUC, Aug. 1, 2008-July 31, 2009 Associate Professor of Art History, SIUC, 1998 – 2010 Assistant Professor of Art History, Adelphi University, Garden City, New York, 1991 – 1998
EDUCATION BA, Art History, Cornell University, 1980 Ph.D., Art History, City University of New York Graduate Center, 1991 --Dissertation: “Autonomy and Authority in German Twentieth-Century Art: The Art and Career of Willi Baumeister, 1889-1955” (2 vols.); advisor: Rose-Carol Washton Long; readers: Rosalind Krauss, Linda Nochlin, Rosemarie Bletter
RESEARCH FOCUS
Twentieth-Century German Art and Culture. Current project: “Turks, Jews, and Other Germans in Contemporary Art.”
PUBLICATIONS (Since 2008):
Book
Objects as History in Twentieth-Century German Art: Beckmann to Beuys (Berkeley, Los Angeles, and London: University of California Press, 2010).
Journal Articles
“Global Art, National Values, Monumental Compromises: ‘German' 9/11 Commemoration in America, ‘American’ Holocaust Commemoration in Germany,” The Massachusetts Review (50th Anniversary Issue), vol. 50/1-2 (May 2009): 155-180.
“Not What We Expected: The Jewish Museum Berlin in Practice,” Museum and Society, vol. 6:3 (November 2008): 216-245 (http://www.le.ac.uk/ms/museumsociety.html).
Chametzky, p. 2
Book Chapters
“Postcards on the Edge in Nazi Germany,” Carte Postale et Création, ed. Isabelle Ewig, Emmanuel Guigon, Line Herbert-Arnaud (Presses de l’Université Paris Sorbonne: PUPS, forthcoming 2018).
“Missed Opportunities, Misunderstandings: Baumeister and the United States,” in Willi Baumeister International, Schriften des Archiv Baumeister im Kunstmuseum Stuttgart, 4 (Stuttgart/Munich/Berlin: Kunstmuseum Stuttgart and Deutscher Kunstverlag, 2013), 43-55 (German), 300-305 (English).
“Titanic Sinks, Departure Arrives: on Beckmann, Film, and the Fall of History Painting and Rise of the Historical Object,” Of Truths Impossible to Put in Words: Max Beckmann Contextualized, ed. Rose-Carol Washton Long and Maria Makela (Bern, Frankfurt, etc.: Peter Lang, 2009), 229-265.
Review Essays
“Creating a Capital: Instrumental Structures,” reviewing Anna Minta, Staatsbauten und Sakralarchitektur in Washington/DC (Berlin: Reimer 2015), Kunstchronik, Munich 70/2 (Feb. 2017): 79-84.
“Artists as Avatars,” reviewing Bettina Gockel, Die Patholgisierung des Künstlers: Kunstlegende der Moderne (Akademie Verlag, 2010), Matthew Biro, The Dada Cyborg: Visions of the New Human in Weimar Germany (University of Minnesota Press, 2009), James A. van Dyke, Franz Radziwill and the Contradictions of German Art History, 1919-1945 (University of Michigan Press, 2011), Modern Intellectual History (Cambridge University Press), 11/1 (April 2014): 237-252.
Konstanze Rudert, curator and editor, Im Netzwerk der Moderne. Kirchner, Braque, Kandinsky, Klee … Richter, Bacon, Altenbourg und ihr Kritiker Will Grohmann (exhibition, catalogue, and volume of texts by Grohman, Dresden: Staatliche Kunstsammlungen in association with Hirmer Verlag, Munich, 2012), The Art Bulletin XCV/3 (September 2013): 494-499.
Book Reviews
Sabine Kriebel, Revolutionary Beauty: The Radical Photomontages of John Heartfield (University of California Press 2014), The American Historical Review, 120/2 (April 2015): 736- 37.
Cordula Grewe, Painting the Sacred in the Age of Romanticism (Ashgate, 2009), The American Historical Review (February 2012): 287-88.
Matthew Baigell, Milly Heyd, and Rose-Carol Washton Long, eds. Jewish Dimensions in Modern Visual Culture (Brandeis University Press, 2010), Images: A Journal of Jewish Art and Visual Culture 5 (2011): 121-4. Chametzky, p. 3
Juliet Koss, Modernism After Wagner (University of Minnesota Press, 2009), Design and Culture, 3:2 (Summer 2011): 257-9
CONFERENCE PRESENTATIONS (Since 2008)
“From Postcards to Social Media: Social Interaction and Satire as Resistance?” for panel, “Visual and Textual Resistance to Political Repression,” German Studies Association Annual Meeting, Atlanta, Oct. 5- 8, 2017. Session respondent to related panel.
“Museums as Historical Sites and Historical Sites as Art Museums,” abbreviated version read in absentia by another participant in session, “The Expanded Museum,” German Studies Association Annual Meeting, Kansas City, September 21, 2014; response to session, “The Politics of Representation, Display, and Performance in the Berlin Republic,” read by session moderator.
“But is it Art? Baumeister, Breker, Ziegler, Then and Now,” to research conference, “Art in Battle,” KODE Museums, Bergen, Norway, August 16, 2014 (in absentia, read by other conference participant).
“Postcards on the Edge: Correspondence Between the Personal, Public, Political and Artistic in Nazi Germany,” Carte Postale et création. Usages, fonctions, enjeux de la carte postale dans le champ artistique (XIXe – XXIe siècles), Paris, Centre André Chastel/ l’Institut national d’histoire d’art, November 19-21, 2013.
Session Chair, “From Lesser to Tanya Ury: German-Jewish Artists, 1890-2010,” College Art Association Annual Meeting, New York, February 2013.
Commentator on session, “Framing Weimar Architecture in the Viewfinder: On Photography and Das Neue Bauen,” German Studies Association Annual Meeting, Milwaukee, Nov. 4-7, 2012.
“From Muscle Men to Fatty Remains: Arno Breker and Joseph Beuys” to session, “Re-Visions of Nazi Germany,” German Studies Association, Annual Conference, Oakland, Oct. 10, 2010; also commentator for session “Recovering the German Past.”
“Monument, Memory, Screen: The Reichstag, its Environs, and Questions of German National Identity,” to session “A Model of Democracy, Art in Action: Hans Haacke at the Reichstag,” German Studies Association, Annual Conference, Minneapolis, Oct. 2-5, 2008; also commentator for session, “Weimar Art and Gender I: Men and Materials.”
INVITED PRESENTATIONS (Since 2008)
“Revising and Refunctioning as Restitution,” keynote lecture (Festvortrag) at inaugural exhibition of the Kunsthaus Dahlem museum, Berlin, June 11, 2015 (delivered in German).
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Talking head in documentary film, “Die Kunst, die mein Vater schuf” (The Art that my father made), about artist Willi Baumeister and the Baumeister Archive created by his daughter, Felicitas Baumeister. Filmed in Stuttgart in 2014 and released in 2015. See trailer: http://www.20.filmschaubw.de/filmfestival/alle-filme/die-kunst-die-mein-vater-schuf/
Baumeister und die Vereinigte Staaten (Baumeister and the United States), Kunstmuseum Stuttgart, Willli Baumeister Tagung, February15, 2014 (in German).
“Why Collect Objects in a Digital World,” Ernest F. Hollings Special Collections Library, University of South Carolina, November 7, 2013.
“Objects as History in 20th-Century German Art,” Fine Arts Society of Peoria, IL, November 8, 2012
“Objects as History in 20th-Century German Art,” gallery talks on works by Beckmann, Richter, other 20th-Century German artists, Saint Louis Art Museum, March, 22-23, 2012
“Objects as History in 20th-Century German Art. Sculpture and Crime: Arno Breker and Joseph Beuys,” Institute of Art and Image History, Humboldt University, Berlin, July 13, 2011
“Objects as History in 20th-Century German Art. Sculpture and Crime: Arno Breker and Joseph Beuys,” Auburn University, March 25, 2011
“Objects as History in Twentieth-Century German Art: Von Muskelprotzen bis hin zu fettigen Hinterlassenschaften: Arno Breker und Joseph Beuys,” University of Koblenz-Landau, January 6, 2011 (in German)
Űber die Ästhetik des Erinnerns: Rolf Zimmermanns ‘In Polen 1942’ nach zwanzig Jahre (On the aesthetics of remembrance: Rolf Zimmermann’s “In Poland 1942 20 years later) ‘Bilder des Krieges “Offene Wunden?” (Picture of War, Open Wounds?), Arbeitnehmerkammer, Bremen, Germany, January 13, 2011 (in German)
“Objects as History in 20th-Century German Art,” Hofstra University, November 12, 2010
“Objects as History in 20th-Century German Art. Sculpture and Crime: Arno Breker and Joseph Beuys,” Adelphi University, November 11, 2010
“Munch’s Modernity,” Fine Arts Society of Peoria, Fine Art Society of Peoria, public lecture at Lakeview Art Museum, Peoria, IL, March 12, 2009
EDITORIAL POSITIONS
--Assistant Editor, Centropa, journal of central european architecture and related arts, New York, ed. Dora Wiebenson, Professor of Architectural History (emeritus), University of Virginia, Summer 2002-2011 (Editorial Board, 2011 – 2014) Chametzky, p. 5
--Book Review Editor, Centropa, Spring 2001-2003 --Editor, Eurotexture, the HGCEA Newsletter, 1997-2004
PROFESSIONAL ORGANIZATION OFFICES/SERVICE
-- National Council of Arts Administrators, Board of Directors 2016-20 --College Art Association, Frank Jewett Mather Award for Art Criticism, Selection Committee member, 2011 – 14, Committee Chair, 2013-14. --President, Historians of German and Central European Art and Architecture (HGCEA, an Affiliated Society of CAA) 2005 - 2011 --Board of Directors, HGCEA, 1997 – 2011
MEMBERSHIPS
College Art Association (since 1985) German Studies Association HGSCEA National Council of Arts Administrators