Carol Ockman Robert Sterling Clark Professor of Art History Williams College 15 Lawrence Hall Drive, Suite 1 Williamstown, MA 01267 413-597-3932 Education B.A. Stanford University (1972) M.A. Yale University (1975) Ph.D. Yale University, Art History (1982) Areas of Expertise Carol Ockman is Professor of Art History at Williams College, with dual specialties in French art of the late- eighteenth and nineteenth centuries and contemporary art and culture. Her cross-genre work on bodies engages performance and the visual arts as well as creative writing. In addition to essays on the nude, portraiture, and stereotypes, she has published Ingres’s Eroticized Bodies: Retracing the Serpentine Line and Sarah Bernhardt: The Art of High Drama, co-authored with Kenneth E Silver, with whom she also curated the multimedia exhibition of the same title at the Jewish Museum in 2005-6. Named best exhibition and catalogue by the Metropolitan Chapter of the Victorian Society in America, Sarah Bernhardt: The Art of High Drama was also a finalist for the Theater Library’s George Freedley Memorial Award (2006). Ockman’s work on Barbie and on Sarah Bernhardt have been the subject of podcasts (The Economist) and radio shows (NPR) in the United States and Sweden. March 2015 Ockman interviewed as the great actress Sarah Bernhardt in “Wish You Were Here,” a series in which the subjects of Andy Warhol’s 10 Portraits of Jews of the 20th Century, all of whom are dead, supposedly came back to life. Interview at 6:12 after the introduction by Deputy Director. Jens Hoffmann. The Jewish Museum, New York, 2015. https://www.youtube.com/watch?v=4Omzy2AM3NE Ockman is finishing Sarah Bernhardt’s Handkerchief, which consists of a personal narrative and a one- woman show about objects’ power to enliven, and to heal loss. Both were inspired by a collaboration with director Anne Bogart of SITI Company and actors Lynn Cohen, Lauren Flanigan, Cherry Jones, Ellen Lauren, and Debra Winger, also at the Jewish Museum in 2005. Ockman was recently invited to the museum to be interviewed as Sarah Bernhardt in a series devoted to Andy Warhol’s Ten Portraits of Jews of the Twentieth Century (“Wish You Were Here,” March 19, 2015). While on sabbatical next year, Ockman will begin a new project on trauma and empathy in performance on the global stage, which will take her to Europe, Australia, Japan, and Cambodia. Languages Italian, French: Fluency, reading and speaking German: reading, limited speaking Courses Note: courses in gray are not offered this academic year. ARTH 253 / WGSS 253 Art in the Age of the Revolution, 1760-1860 ARTH 361 T / INTR 361 / WGSS 361 Writing about Bodies ARTH 426 / WGSS 426 Pictures That Rocked the Nation: Courbet and Manet in Second Empire France ARTH 451 / WGSS 451 Ideal Bodies: The Modern Nude and Its Dilemmas Scholarship/Creative Work • Carol Ockman and Kenneth E. Silver, contributors to Open Book: Design by Abbott Miller (Princeton: Princeton Architectural Press), forthcoming • Carol Ockman and Kenneth E. Silver, with additional contributions by Janis Bergman-Carton, Karen Levitov, and Suzanne Schwarz Zuber, Sarah Bernhardt: The Art of High Drama, exhibition catalogue (New Haven and London: Yale University Press and The Jewish Museum, New York, 2005) *Award for Exhibition/Catalogue, Metropolitan Chapter of the Victorian Society in America, 2006 *Finalist for the George Freedley Memorial Award, Theater Library Association, 2006 • “Ingres’s Legacy: Myth Under Fire,” Encyclopedia of Europe 1789-1914, ed. John Merriman and Jay Winter (New York: Charles Scribner’s Sons/Thomson Gale, 2006) • Essay on Ida Applebroog, Boboli Gardens, 1987 and abridged reprint of essay on Paul Cadmus, Point O’ View, 1945, Encounter: Williams College Museum of Art Collection, ed. Vivian Patterson (Williamstown, MA: Williams College Museum of Art, 2006) • “A Woman’s Pleasure: Ingres’s Grande Odalisque,” in Reclaiming Female Agency: Feminist Art History in the Postmodern Era, ed. Norma Broude and Mary Garrard (Berkeley: University of California Press, 2005) [reprinted from Carol Ockman, Ingres’s Eroticized Bodies: Retracing the Serpentine Line (New Haven and London: Yale University Press, 1995), 33-53; 64-65] • “Sarah Bernhardt: Death and the Icon,” European Theatre Iconography : Proceedings of the European Science Foundation Network (Mainz, 22-26 July 1998, Wassenaar, 21-25 July 1999, Poggio a Caiano, 20-23 July 2000), ed. Christopher Balme, Robert Erenstein, Cesare Molinari (Rome: Bulzoni Editore, 2002), 331-339 • “Paul Cadmus, Point O’View, 1945”, catalogue entry for Object Lessons: Selections from the WCMA Collection of American Art Before 1950, ed. Nancy Mowll Mathews (Williamstown, MA: Williams College Museum of Art, 2001) • “Women, Icons and Power” in Self and History: A Festschrift in Honor of Linda Nochlin (New York and London: Thames and Hudson, 2001), 103-115 • “Barbie Meets Bouguereau: Constructing an Ideal Body for the Late-Twentieth Century” in The Barbie Chronicles: An American Doll Turns Forty, ed. Yona Zeldis McDonough (New York: Touchstone Books [Simon and Schuster], October 1999), 73-88 • ‘Cambridge “Mirror Images: Women, Surrealism, and Self-Representation,” MIT Visual Arts Center,’ Artforum (October 1998): 128-129 • `Focus: “Too Jewish? Challenging Traditional Identities,” Jewish Museum, New York,’ Artforum (September 1996): 106-107 • “When is a Jewish Star Just a Star? “Interpreting Images of Sarah Bernhardt”, 121-139, in The Jew in the Text: Modernity and the Politics of Identity, ed. Linda Nochlin and Tamar Garb, (London and New York: Thames and Hudson, 1995), 121-139 • Ingres’s Eroticized Bodies: Retracing the Serpentine Line, New Haven and London: Yale University Press, 1995 (Selected Reviews: Art Book, Art History, Art in America, Apollo, Boston Book Review, Burlington Magazine, Gazette des Beaux-Arts, Journal of the History of Sexuality, Nineteenth Century French Studies, Oxford Art Journal, Revue de l’Art, Women Artists News) • “Profiling Homoeroticism in Ingres’s Achilles Receiving the Ambassadors of Agamemnon,” Art Bulletin (June 1993): 259 274 • “‘Two Eyebrows à l’orientale': Ethnic Stereotyping in Ingres’ Baronne de Rothschild,” Art History (December 1991), 521 539; reprinted in The Jewish Quarterly (Autumn 1992): 12 15, Issue on “Images and Voices of Jewish Women” • “Prince of Portraitists: Franz Xavier Winterhalter,” Art in America (November 1988): 45 49 • “On Feminist Art Criticisms,” Art in America (December 1986): 99-100 • “Astraea Redux: A Monarchist Reading of Ingres’ Unfinished Murals at Dampierre,” Arts (October 1986): 21 27 • “Gleyre’s Destroyed Staircase Decorations at Dampierre: A Glaring Scholarly Error,” Gazette des Beaux Arts (March 1984): 111 114 • Cikovsky, Jr., Nicolai, Marie H. Morrison and Carol Ockman, The White Marmorean Flock, with an introduction by William H. Gerdts, Jr. (Vassar College Art Gallery, 1972) In Progress • Sarah Bernhardt’s Handkerchief (book-length manuscript about a handkerchief passed on by Bernhardt to great actors of the American theatre, including Helen Hayes, Julie Harris, and Cherry Jones, and the significance of its transmission) Selected Lectures and Activities • Norman Mailer Writers Colony, Provincetown, MA, Workshop on Memoir with Kaylie Jones, June 2009 • podcast, “Barbie at 50,” The Economist, http://www.viaway.com/view/5393314/barbie-at-50 • “’She’s Going to Sell: Sarah Bernhardt and Warhol’s Ten Portraits of Jews,” Symposium on “Figuring Change at the Turn of the Century” with Mary Davis, Sander L. Gilman, John Merriman, Valerie Steele, and Barbara Spackman, Institute for the Arts and Humanities, The Pennsylvania State University, April 2009 • “`Why Can’t a Woman Be More Like a Man?’” Sarah Bernhardt’s Professional Travails” in “Performing Female Celebrity,” Symposium on “Writing, Performance, and Theatricality in George Sand’s Works,” The Eighteenth International George Sand Conference, The University of California, Santa Barbara, September 2008 • “‘She of the Famous Elongated Cello Back’: Ingres’s Grande Odalisque Meets Bernhardt’s Dame aux Camélias,” keynote address, colloquium on “Lire la Ligne,” Deutsches Forum für Kunstgeschichte, Paris, June 2008 • “Sarah Bernhardt’s Handkerchief,” colloquium on “High/Low: Nineteenth-Century French Cultures,” 33rd Annual Nineteeth-Century French Studies Colloquium, University of South Alabama, Mobile, AL, October 2007 • Narrator, writer, and collaborator, “Evening with Sarah Bernhardt,” Live Performance with Lynn Cohen, Lauren Flanigan, Cherry Jones, Ellen Lauren, and Debra Winger, directed by Anne Bogart, in conjunction with the exhibition Sarah Bernhardt: The Art of High Drama, The Jewish Museum, New York, December 12, 2005. • Co-curator with Professor Kenneth E. Silver, New York University, Sarah Bernhardt: The Art of High Drama, The Jewish Museum, New York, December 2, 2005-April 2, 2006 (Selected reviews and press coverage: The New York Times, The New York Sun, The Daily News, Newsday, Los Angeles Times, The Jerusalem Post, The Forward, Vogue, The New Yorker, Agence France Presse, Jewish Exponent, Lilith, “New York News 1,” NPR: Saturday Morning Edition with Scott Simon), American Theatre, Nineteenth-Century Art Worldwide, NYU Alumni Magazine, Williams Alumni Review, The Jewish Week, The Jewish Chronicle, Village Voice, Art News, Journal Français, Antique Week) • “The Invention of the Female Nude,” colloquium on “Histories of Representation/Representations of History,” 31st Annual Nineteeth-Century French Studies Colloquium, University of