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Suzanne Hudson ASSOCIATE PROFESSOR OF ART HISTORY AND FINE ARTS FACULTY FELLOW, USC SOCIETY OF FELLOWS ADVISORY COMMITTEE, VISUAL STUDIES RESEARCH INSTITUTE UNIVERSITY OF SOUTHERN CALIFORNIA DORNSIFE COLLEGE OF LETTERS, ARTS & SCIENCES, DEPARTMENT OF ART HISTORY • THH 355 3501 TROUSDALE PARKWAY • LOS ANGELES, CALIFORNIA 90089-0351 [email protected] CURRICULUM VITAE October 2019 EMPLOYMENT Dornsife College University of Southern California, Associate Professor of Art History and Fine Arts, 2015-present Dornsife College University of Southern California, Assistant Professor of Art History and Fine Arts, 2014-2015 Dornsife College, University of Southern California, Assistant Professor of Art History, 2012-2013 (hired 2011; deferred to complete fellowship) University of Illinois, Urbana-Champaign, Assistant Professor of Art History, Modern and Contemporary Art, 2007-2011 University of Illinois, Urbana-Champaign, Visiting Assistant Professor of Modern and Contemporary Art, 2006-2007 OTHER INVITED TEACHING EXPERIENCE Center for Curatorial Studies at Bard College (CCS Bard), regular Guest Faculty for courses between 2008-2011 Museum of Modern Art, New York, Course Instructor, 2006-2008 The New School University, Parsons School of Design, Course Instructor, Art and Design Studies Department Faculty, 2005-2006 Whitney Museum of American Art, New York, Teaching Fellow, 2003-2006 EDUCATION Princeton University, Art and Archaeology Department Ph.D., 2006 M.A., 2003 University of California, Berkeley B.A. summa cum laude in History of Art; Departmental Honors in History of Art, 1999 HONORS, AWARDS, AND FELLOWSHIPS USC Society of Fellows, Faculty Fellow, 2019-2021 Terra Foundation for American Art, Award for Expanding Outliers in American Art, Co- Organized Conference, Winter 2019 Artspace, Sydney, Australia, Residency, Summer 2017 Andrew W. Mellon Foundation New Directions Fellowship for Better for the Making, 2017- 2020 Creative Capital | Warhol Foundation Arts Writers Grant, 2015-2016 Dedalus Foundation Senior Fellowship, 2015-2016 Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art, Visiting Senior Fellowship Award, Summer 2015 USC VSRI Summer Travel Award for Junior Faculty, 2014 USC Collaboration Fund Grant for The Contemporary Working Group, 2013 USC ASHSS Grant Writing Grant, 2013 Whitney Museum of American Art, Research Fellow, 2010-2012 University of Illinois Research Board, Award for Contemporary Art: 1989-Present, 2010 University of Illinois Research Board, Humanities Released Time Grant, Award for Spring 2010 University of Illinois Research Board, Award for Robert Ryman: Used Paint, 2008 University of Illinois Research Board, Award for Robert Ryman: Used Paint, 2007 University of Illinois Scholars’ Travel Fund, 2007, 2008, 2009 Princeton University, Department of Art and Archaeology Publication Grant for Robert Ryman: Used Paint, 2007 STUDENT HONORS AND FUNDING Princeton University, Spears Fund Travel Grant, 2003-2005 Princeton University, Department of Art and Archaeology Fellowship, 2003-2004 Leo and Karen Gutmann Foundation Grant, 2002 Princeton University Graduate School Summer Stipend Award, 2001, 2002, 2003, 2004, 2005 Princeton University Academic Fellowship, Frank J. Mather Memorial Fund, 2000-2005 University of California, Berkeley, Phi Beta Kappa Honor Society, Elected 1999 University of California, Berkeley, Departmental Citation in History of Art for Outstanding Honors Thesis, 1999 University of California, Berkeley, Golden Key National Honor Society, Elected 1998 University of California, Berkeley, Maybelle Toombs Academic Scholarship in History of Art, 1998 PUBLICATIONS SCHOLARLY WORK HUDSON • PAGE 2 FORTHCOMING PUBLICATIONS BOOKS Better for the Making: Art, Therapy, Process (book manuscript in research/writing stage) Contemporary Painting (Thames & Hudson, World of Art Series, forthcoming 2020) ESSAYS (PEER REVIEW) “Painting as the IP” (in writing stage; submit for review in Fall 2019) “Ruth Faison Shaw and the Art for the Elemental Mark” (in writing stage; submit for review in Winter 2020) BOOKS Mary Weatherford (Lund Humphries, 2019) Agnes Martin: Night Sea (Afterall Books/The MIT Press, 2017; reprint confirmed for 2020) Reviewed by Sarah Montross, Art Journal (Winter 2018) Reviewed by Laura Lisbon, caa.reviews (April 2017) Reviewed by Stephanie Guyet, Brooklyn Rail (June 2017) Painting Now (New York and London: Thames & Hudson, 2015; paperback edition forthcoming 2018; World of Art Revised Edition proposed for 2021) Contemporary Art: 1989 to the Present, co-edited with Alexander Dumbadze (Wiley-Blackwell, 2013; Korean edition distributed by Yekyong Publishing Co, 2016) Reviewed by Robert Summers, caa.reviews (June 2017) Robert Ryman: Used Paint (The MIT Press, 2009); second hardback printing, 2011 Reviewed by Dustin London, caa.reviews (February 2017) Selection for Hol Art Books, Museum Reading Groups: http://www.holartbooks.com/bookclub-ryman Reviewed by Godfre Leung, In Visible Culture (Spring 2011) Reviewed by Matthew Bowman, The Art Book (February 2010) Selected by Brian Sholis as one of the top books of the year, Frieze (February 2010) Reviewed by Jonathan T.D. Neil, Art Review (Summer 2009) Reviewed by Arthur Danto, Bookforum (June/July/August 2009) JOURNAL PUBLICATIONS (PEER REVIEW) “I’ll Be Your Mirror, or Why and How do We Work on Living Artists,” Art Journal, vol. 67, no. 4 (Winter 2008) pp. 8-11 “Robert Ryman’s Pragmatism,” October, vol. 119 (Winter 2007) pp. 121-138 “Robert Ryman, Retrospective,” Art Journal, vol. 64, no. 3 (Fall 2005) pp. 62-69; reprinted in Robert Ryman: Critical Texts Since 1967, ed. Vittorio Colaizzi and Karsten Schubert, (Ridinghouse, 2009) pp. 373-381 “Feedback: Vito Acconci and the Space of His Public,” Critical Matrix: The Princeton Journal of Women, Gender, and Culture, vol. 14 (2003) pp. 8-35 HUDSON • PAGE 3 “Beauty and the Status of Contemporary Criticism,” October, vol. 104 (Spring 2003) pp. 115- 130; reprinted in Beauty, ed. Dave Beech (The MIT Press, 2009) pp. 50-58 JOURNAL PUBLICATION (INVITED IN PEER REVIEW) “Response to Contemporary Questionnaire,” October, vol. 130 (Fall 2009) pp. 3, 117-118 BOOK CHAPTERS (PEER REVIEW) “‘Toward a Happier and More Successful Life,’ or When Veterans Made Art in the Modern Museum,” Sandra Zalman and Austin Porter, Modern in the Making: MoMA and the Modern Experiment 1929-1949 (Bloomsbury, in press, forthcoming 2020) “After Endgame: American Painting in the 1990s,” Come As You Are: Art in the 1990s, (Montclair, NJ: Montclair Art Museum and the University of California Press, 2014) pp. 45-54 “Introduction,” Contemporary Art: 1989 to the Present, co-author Alexander Dumbadze (Wiley- Blackwell, 2013) pp. 1-4 “Naked Pictures: Ansel Adams and Esalen,” West of Center: Art and the Counterculture Experiment in America, 1965–1977, ed. Elissa Auther and Adam Lerner (Minneapolis: University of Minnesota Press, 2011) pp. 287-305 Review with essay highlighted in Art Journal, Jennifer Doyle, “City of Angels” (Spring 2012) pp. 151-155 “Ghosts of Ghosts: Contemporary Art and the Photograph,” Shared Intelligence: American Painting and the Photograph, ed. Barbara Buhler Lynes and Jonathan Weinberg (Berkeley and Los Angeles: University of California Press, 2011) pp. 140-153 “Robert Indiana: ‘A People’s Painter,’” Pop Art: Contemporary Perspectives (London and New Haven: Yale University Press, 2007) pp. 14-35 MUSEUM AND GALLERY ESSAYS/CATALOGS AND MONOGRAPHS “To My Future Readers,” Sharon Lockhart: Rudzienko (Vilnius: Contemporary Art Centre (CAC), 2019) pp. 12-19 “Present Conditional,” Lee Krasner: Living Color (London: Barbican/Thames & Hudson) pp. 42-47 “Moving Out,” Vija Celmins: To Fix the Image in Memory (San Francisco: San Francisco Museum of Modern Art/Yale University Press, 2018) pp. 130-137 “The Opposite of Irony,” Harvey Quaytman: Against the Static (Berkeley: BAM/PFA, 2018) pp. 119-127 “Nauman’s Resistance,” Bruce Nauman: Disappearing Acts (New York: Museum of Modern Art, 2018) pp. 136-143 “Personal Voyages,” Outliers and American Vanguard Art (Chicago, London, Washington D.C.: National Gallery of Art/University of Chicago Press, 2018) pp. 116-127 “Painting with Light,” Mary Corse (New York and Los Angles: Inventory Press, 2017) pp. 145-149 HUDSON • PAGE 4 “Robert Ryman, Circa 1972,” Robert Ryman, ed. Stephen Hoban and Courtney Martin (New Haven and London: Yale University Press with Dia Art Foundation, New York, 2017) pp. 249-259 “Abstracts,” Cameron Martin: Abstracts (Albany, NY: University Art Museum, 2017) pp. 5-9 “The Truth About Painting,” Michael Williams (Pittsburgh, PA: Carnegie Museum of Art, 2017) pp. 47-55 “Chance, By Design,” Sarah Crowner (New York: Prestel Publishing with Mass MOCA, North Adams, Massachusetts, 2017) pp. 8-19 “Hard Copy, Soft Copy,” Kelley Walker (St. Louis, MO: Contemporary Art Museum and JRP|Ringier, 2016) pp. 14-17 “Making, Using,” Betty Woodman: Theatre of the Domestic (Milan: Mousse Publishing with Museo Marino Marini, Florence and the Institute of Contemporary Arts (ICA), London, 2016) pp. 10-18 “The Painting that Ate its Own Tale,” Laura Owens (London and New York: Rizzoli, 2015) pp. 15-19 “Revenant,” Things Beyond Resemblance: James Welling Photographs, ed. Philipp Kaiser (Chadds Ford, PA: Brandywine River Museum of Art, 2015) pp. 74-79 “With Friends Like These,” Lisa Yuskavage, The Brood: Paintings 1991-2015 (Boston: Rose Art Museum/Brandeis, 2015) pp. 22-37 “A Comma in the Place Where a Period Might Have Gone,” “The heroine Paint: After Frankenthaler, ed. Katy Siegel
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