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James-Steward-Cv-2013.Pdf JAMES CHRISTEN STEWARD 115 Winant Road Princeton, New Jersey 08540 609.375.6941 PROFESSIONAL EXPERIENCE 2009- Director, Princeton University Art Museum Lecturer with the Rank of Professor, Princeton University Oversees operating budget of $15 million, staff of 75, and global collections of 82,000 works of art. Leads and provides vision for program of exhibitions, collections installations, and scholarly and public programs. Develops acquisitions strategies and oversees annual purchase program of ca. $4.5 million along with gift cultivation and acceptances. Advocates for the Museum to local, regional, statewide, and national constituencies including funders, collaborators, and audiences. Led a successful endowment campaign of $45.9 million that concluded in June 2012 and a potential $200 million facility project and campaign. Liaises with university leaders to develop arts policy and interdisciplinary collaborative projects. Teaches courses in 18th- and 19th-century art, ethics, and arts policy. 1998-2009 Director, University of Michigan Museum of Art 2003-2009 Professor, History of Art and Museum Studies 2001-2003 Associate Professor, History of Art and Art 1998-2001 Assistant Professor, History of Art and Art Provided direction for staff of 50, an operating budget of $5.5 million, collections of over 18,000 objects, and 200+ volunteers. Led major development initiatives including a building and endowment campaign totaling $98 million. Initiated and led National Advisory Board. Developed interdisciplinary program in museum studies. Conducted research and organizes exhibitions. Taught courses in 18th- century art and museum studies. 1997-1998 Chief Curator, University of California, Berkeley Art Museum 1992-1997 Curator and Assistant Director Member of Senior Management Team; managed budgets totaling $1.7 million, including $600,000 annual gallery exhibition program; administered all aspects of collection development and management; cultivated individual and corporate donors and collectors; managed project-specific grant writing. Developed major touring exhibition and publications projects. As Chief Curator, supervised curatorial, registration, education, and design departments, and museum internship program. Developed and taught museum studies and period art history courses. 1987-1988 Curatorial Assistant, The Queens Museum. Developed all aspects of a major travelling exhibition of French and American 18th- and 19th-century political art. 1981-1983 Instructor, University of Virginia. Developed and taught introductory and intermediate French language and literature courses. EDUCATION 1988-1992 D.Phil., History of Art, Trinity College, Oxford University. Thesis: "British Art and the Origins of Modern Childhood, 1730-1830." Supervisor: Professor Francis Haskell. 1986-1988 M.A. Program, History of Art, Institute of Fine Arts, New York University. Theses: "Conquering the Market: Monet in the 1890s;" "The East Frieze of the Siphnian Treasury at Delphi". Supervisors: Professor Paul Tucker and Professor R.R.R. Smith. 1977-1981 B.A. with honors, French, History, and Art History, University of Virginia. SELECTED FELLOWSHIPS, GRANTS, AND AWARDS Fellowships Willard L. Boyd Fellow, The Chief Executive Program, National Arts Strategies, 2011-2013 Executive Education Program at Harvard Business School; University of Texas, Austin Business School; and University of Michigan Ross School of Business Faculty Fellow, Rockefeller College, Princeton University, 2011- Old Dominion Fellow, Council of the Humanities, Princeton University, 2009-2011 British Council Research Fellowships, 1994, 1995 Mellon Fund Fellow, The Huntington Library, San Marino, California, 1993-1994 Art History Fellow, Virginia Museum Foundation, 1990-1991 Arnold, Bryce and Read Trust Award [for research travel], Oxford University, 1991 Librairie Léonce Laget Award, College Art Association, 1991 Overseas Student Scholarship, Oxford University, 1988-1991 Council of Friends Fellow, Institute of Fine Arts, New York University, 1986-1987 Levy Odyssey Fellow, Institute of Fine Arts, New York University, 1987 Grants Collections activation/research grant, Andrew W. Mellon Foundation, 2011 Collections interpretation grant, Getty Foundation, 2006 Collections interpretation grants, IMLS, 2006, 2007, 2008 Challenge grant, Kresge Foundation, 2005 Exhibition grants, National Endowment for the Arts, 1992, 1993, 1995, 1996, 1999, 2000, 2002, 2005 Exhibition grants, National Endowment for the Humanities, 1994, 1997 Exhibition grants, Ford Motor Company Fund, 1999, 2000-2003, 2006-2007 Exhibition grant, Florence Gould Foundation, 2007 Exhibition grant, Andy Warhol Foundation, 2003 Exhibition grant, American Ireland Fund, 1997 Exhibition grant, Robert Gore Rifkind Foundation, 1996 Awards Photography Book of the Year, Independent Publisher Book Awards, 2002 Museum Catalogue of the Year (1st runner-up), Independent Publisher Book Awards, 2006 Museum Catalogue of the Year, Western Books Association, 1996 Chancellor's Award for Distinguished Service, University of California, Berkeley, 1996 2 Notable Book of the Year, The Independent of London, 1995 Who’s Who in American Business, 2000-2013 editions Who’s Who in American Art, 2001-2013 editions Marquis’ Who’s Who in America, 2004-2013 editions PUBLICATIONS Books and Catalogues The New Child: British Art and the Origins of Modern Childhood, 1730-1830 (240 pp, 160 illus.), University Art Museum/University of Washington Press, July 1995. Exhibition handbooks, including Edvard Munch and His Models (Berkeley, 1992), American Vernacular: Folk Art from the Collection (Berkeley, 1994), Bernard Maybeck Drawings (Berkeley, 1997), and When Time Began to Rant and Rage: Figurative Painting from Twentieth-Century Ireland (Berkeley, 1998). Edited Books and Catalogues The Mask of Venice: Masking, Theater, and Identity in the Art of Tiepolo and His Time (Berkeley and Seattle: Berkeley Art Museum/University of Washington Press, 120 pp., 88 illus., 1996). When Time Began to Rant & Rage: Figurative Painting from Twentieth-Century Ireland (Berkeley and London: Berkeley Art Museum/Merrell Holberton Publishers, 288 pp., 255 illus., 1998). In Human Touch: Photographs by Ernestine Ruben (Portland and Tucson: Nazraeli Press, 204 pp., 170 illus., 2001). The Romanovs Collect: European Art from the State Hermitage Museum (Ann Arbor and London: University of Michigan Museum of Art/Merrell Publishers, 208 pp., 165 illus., 2003). Betye Saar: Extending the Frozen Moment (Berkeley and London: University of California Press, 176 pp., 2005). Exhibition handbooks including Hero of Two Worlds (New York, 1988), Gertrude Jekyll: Private Gardens, Vanishing Arts (Berkeley, 1993), Innocence and Experience (London and Manchester, 1994), Donald Sultan: The Smoke Rings (Ann Arbor, 2001). Articles "American Vernacular," American Art Review, Vol. VI, No. 6, December 1994/January 1995, pp. 84-89. “Masks and Meanings in Tiepolo’s Venice,” The Mask of Venice: Masking, Theater, and Identity in the Art of Tiepolo and His Time, Berkeley and Seattle: University of California/ University of Washington Press, December 1996, pp. 15-33. Entries on Thomas Gainsborough, William Mulready, Landscape Painting, and Genre Painting in Britain in the Hanoverian Age, 1714-1837: An Encyclopedia, New York: Garland Press, 3 1997. “The Irishness of Irish Painting,” When Time Began to Rant & Rage: Figurative Painting from Twentieth-Century Ireland, Berkeley and London: University of California/Merrell Holberton Publishers, October 1998, pp. 16-22. “The Camera of Sally Mann and the Spaces of Childhood, Michigan Quarterly Review, Vol. XXXIX, No. 2, April 2000, pp. 365-375. “Formalist Fragments and Postmodern Manipulations,” In Human Touch: Photographs by Ernestine Ruben, Portland and Tucson: Nazraeli Press, 2001, pp. 64-79. “The Private Taste of the Romanovs in Eighteenth-Century Russia,” in The Romanovs Collect: European Art from the State Hermitage Museum, Ann Arbor and London: University of Michigan Museum of Art/Merrell Publishers, 2003, pp. 14-27. “’Lest We Forget’: The Liberating Art of Betye Saar,” Betye Saar: Extending the Frozen Moment, Berkeley: University of California Press, 2005, pp. 10-19. “Francis Haskell: A biographical memoir,” Proceedings of the American Philosophical Society, Vol. 149, No. 4, December 2005, pp. 593-597. “Masks and Meanings in Tiepolo’s Venice,” A Carnivale Celebration, Save Venice, Inc., 2006. Guest editorial, Museum Practice, magazine of the Museums Association, December 2006. EXHIBITIONS ORGANIZED Edvard Munch and His Models 1912-1944, Berkeley Art Museum, 1992. Gertrude Jekyll: Private Gardens, Vanishing Arts, Berkeley Art Museum, 1993. Prints from the Collection in Honor of R. E. Lewis, Berkeley Art Museum, 1994. American Vernacular: Folk Art from the Collection, Berkeley Art Museum, 1994. The New Child: British Art and the Origins of Modern Childhood, 1730-1830, Berkeley Art Museum, 1995. Toured to Dixon Gallery and Gardens, Memphis, Tennessee; Joslyn Art Museum, Omaha, Nebraska. Innocence and Experience in German Expressionist Art, Berkeley Art Museum, 1996. The Mask of Venice: Masking, Theater, and Identity in the Art of Tiepolo and His Time, Berkeley Art Museum, 1996. Masterworks of Greek & Roman Art from the Hearst Museum, Berkeley Art Museum, 1996. Exhibition co-curated with Professor Andrew Stewart. Bernard Maybeck Drawings, Berkeley Art Museum, 1997. Hogarth and His Times: Serious Comedy, British Museum, London; Berkeley Art Museum; 1998. Exhibition curated by Professor
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