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CURRICULUM VITA Dr. Patricia Mathews, Professor of Art History

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CURRICULUM VITA Dr. Patricia Mathews, Professor of Art History CURRICULUM VITA Dr. Patricia Mathews, Professor of Art History Hobart and William Smith Colleges Houghton House Department of Art email: [email protected] Geneva, NY 14456 (315) 789-1125 EDUCATION 1984 Ph.D., University of North Carolina, Art History Major Area of Study: Modern Art, Criticism, and Theory Dissertation: G.-Albert Aurier's Symbolist Art Theory and Criticism (Prof. Joseph Sloane) 1974 B.A., Magna cum laude. University of Houston, Art History EMPLOYMENT 2008-present Hobart and William Smith Colleges, Professor, History of Modern and Contemporary Art 1985-2008 Oberlin College, Professor, History of Modern and Contemporary Art 1995-96 Chair, Art Department, Oberlin College 1983-85 Virginia Polytechnic Institute and State University Assistant Professor, Art History 1982-83 University of New Mexico Visiting Lecturer in Art History, 1980-81 Instructor in Art History, Institute for American Universities, Aix-en-Provence 1979-80 Paris American Academy (France) Lecturer, Modern Art VISITING POSITIONS: 2007-08 Hobart and William Smith Colleges Visiting Professor of Art History 2003-04 University of Rochester Visiting Associate Professor of Art History and of Visual and Cultural Studies, Graduate program 1994 Northwestern University, Chicago Visiting Associate Professor, Art History Graduate Program, Fall Quarter (Invited for the year) GRANTS AND AWARDS 2001 Passionate Discontent: Creativity and Gender in French Symbolist Art, Nominated for CAA Charles Rufus Morey Book Award, 2001, Most distinguished art history book of the year. (One of four books, each in different fields.) Curriculum Vita: Patricia Mathews Page 1 2000 Powers Summer Travel Grant, Oberlin College summer Valadon research Curriculum Development, Oberlin College, summer, Art of the World course research 1996 Sabbatical, Oberlin College 1997 Fulbright Scholar Program Recognition of Outstanding Service, Senior Scholar Award Committee 1992-93 National Endowment for the Humanities Fellowship, 1992 National Endowment for the Humanities Summer Stipend, (declined) Powers Summer Travel Grant, Oberlin College (To Europe to research and see paintings by Suzanne Valadon). 1986-87 Research & Development Grants, Oberlin College, 1990-96 1999 1985-88 Dana Student Assistant Grants, Oberlin College 1988-89 Research Status, Oberlin College (one year paid leave) Mellon Fellowship (declined in order to accept Research Status) 1987 Powers Summer Travel Grant, Oberlin College (To Europe for Research) 1984 Duke-UNC Women’s Studies Research Center Grant (to integrate women artists into art history courses) Virginia Foundation for the Humanities and the Virginia Commission for the Arts (to fund state wide exhibition of Virginia Women Artists and Catalogue with color; wrote catalogue essay) Smith Fund Grant, Univ. of North Carolina (for dissertation preparation) Travel Grant, College of Arts and Sciences, Curriculum Vita: Patricia Mathews Page 2 Virginia Polytechnic Institute and State University 1978-79 Lurcy Foundation Grant (for dissertation research in France), 1978 Samuel H. Kress Summer Travel Grant Univ. of North Carolina 1976 Travel-Research Grant, State of N.C. (Seminar participant researching North Carolina Museum of Art Catalogue of Dutch and Flemish Paintings at the Rijksbureau in Den Hague, Netherlands) 1972-74 University of Houston Scholar Scholarship PUBLICATIONS BOOKS 1986 Aurier: Symbolist Art Criticism and Theory, UMI Research Press, Ann Arbor, MI 2000 Passionate Discontent: Creativity and Gender in French Symbolist Art, University of Chicago Press. Reviews: Therese Dolan, CAA.reviews online (Jan-June, 2000; Art Bulletin, College Art Association) Patricia Leighten, Modernism-Modernity, v. 8 no. 2 (April 2001), 369-71. David Ehrenpreis, Woman’s Art Journal, v.22no.2 (Fall 2001 /Winter 2002), 42-44. ArtBook, London, 2001 Richard Thomson, Burlington Magazine, v. 144 no. 1187, (Feb. 2002), 113-14. Elizabeth Menon, Nineteenth-century Art Worldwide (electronic), v. 1 no. 1 (Spring 2002). CURRENT RESEARCH Speaking of Absence, Listening to Silence: The Art of May Stevens completed manuscript: A Different Vision: Gender, Class and Embodiment in the Nudes of Curriculum Vita: Patricia Mathews Page 3 Suzanne Valadon (three chapters completed) ARTICLES: INVITED 2009 “Listening to Silence: the Art of May Stevens,” in Festschrift for Donald Kuspit, ed. David Craven Moments in Time: Lithographs from the HWS Art Collection, catalogue essay and exhibition co-curator, Hobart and William Smith Colleges, April 2009 2008 “Review: Carol Armstrong and Catherine de Zegher, eds., Women Artists at the Millennium (2006, MIT Press) in Woman’s Art Journal, 2008. 2007 “Absence/Excess/Loss,” catalogue essay, University of Rochester Memorial Art Gallery. 2006 “Gender Analysis in Art History,” Encyclopedia of Women in World History, Oxford University Press, Ed. Art and Architecture: Prof. Natalie Kampen 2005 “Review: Paris in Despair: Art and Everyday Life Under Seige (1870-71) (Univ. of Chicago Press, 2002), by Hollis Clayson , The Historian. 2004 “Review: “Camille Claudel: A Life (2004), by Odile Ayral- Clause, Woman’s Art Journal, Fall 2004/Winter 2005, Vol. 25, No. 2, 38-40. 2002 “The Basis of Basics: Teaching Introductory Art History,” New York Foundation for the Arts: Chalkboard, Fall 2002 1999 “Louise Bourgeois, Claude Cahun”, Allen Memorial Art Museum CD-Rom Collection Catalogue, 1999 1998 Rachel Friedberg: Representations of the Feminine,” in Rachel Friedberg, ed. Robert Lubar, with essays by Lubar, Linda Nochlin, Eunice Lipton, etc. “The Politics of Feminist Art History,” in, The Subjects of Art History: Historical Objects in Contemporary Perspectives, eds. Mark Cheetham, Michael Ann Holly, Keith Moxey, Cambridge, University Press, 1998. 1997 “Cindy Sherman, Kiki Smith, Suzanne Valadon,” Allen Memorial Art Museum CD-Rom Collection Catalogue Curriculum Vita: Patricia Mathews Page 4 1995 Fall “What Matters in Art History? A Pedagogical Approach to the Introductory Course,” The Art Journal , Fall 1995 1994 “Gender Analysis and the Work of Meyer Schapiro,” the Oxford Art Journal, v. 17, no.1, Spring, 1994, 81-91 1992 “The Gender of Creativity in the French Symbolist Period,” in Women and Reason, eds. Elizabeth D. Harvey and Kathleen Okruhlik (University of Michigan Press, 1992), 63-85. 1993 Encyclopedia of Twentieth-Century North American Women Artists, eds. Jules Heller and Nancy Heller, Garland Publishing, entries on Mary Kelly, Silvia Kolbowski, Adrian Piper, Betye Saar, Alison Saar, Judy Chicago, and Miriam Schapiro. 1992 “Indeterminate Evocations: The Work of George Snyder,” with Stanley Mathews, George Snyder (Boston), 1992, pp. 14-15. ARTICLES (SUBMITTED) 1994 Review of May Stevens and Rudolf Baranik, Exit Art, Art In America, September “Goddess Redux: Audrey Flack’s Impolitic Body Politics,” Art in America, vol. 82,no.3, 88-91, 124-5 1993 Review of Mark Cheetham, The Rhetoric of Purity. Essentialist Theory and the Advent of Abstract Painting, The Art Bulletin, v. LXXV no. 2, June, 332-36. 1991 Returning the Gaze: Diverse Representations of the Nude in the Art of Suzanne Valadon,” The Art Bulletin, LXXIII, no. 3, 415-30, Sept, 1991. Review of Whitney Chadwick, Women, Art, and Society, in The Art Bulletin, LXXIII, no. 2, 336-39, June, 1991 Review of Roszika Parker, The Subversive Stitch: Embroidery and the Making of the Feminine, in Woman’s Art Journal. v/ 12. mp/ 1 (Spring-Summer 1991), 45-47. 1990 Review of “Athena Tacha, New Works: 1986-1989,” High Museum of Art, Atlanta, in Art in America, May, 1990. Review of Rosemary Betterton, ed., Looking On: Images of Femininity in the Visual Arts and Media, in Woman’s Art Journal, v. 10, no. 2 (fall-winter 1989-90), 44-47. Curriculum Vita: Patricia Mathews Page 5 1989 “Feminist Art Criticism: Multiple Voices and Changing Paradigms,” Art Criticism, v. 5, no. 2, Feb./Mar., 1989, 1-34. 1988 “Passionate Discontent; The Creative Process and Gender Difference in the French Symbolist Period,” Allen Memorial Art Museum Bulletin, v. XLIII, no.1, Summer, 1988, 21-30. 1988 “Review of R. Parker & G. Pollock, Framing Feminism,” with Thalia Gouma-Peterson, Women’s Review of Books, v. V no. 6, Mar. 1988, 21-23. Review of “Ruth Weisberg: Paintings, Drawings, Prints, 1968-88,” The New Art Examiner, Vol.16, Dec., 1988 1987 * “The Feminist Critique of Art History,” with Thalia Gouma- Peterson, The Art Bulletin, v. LXIX, no. 3, September,1987, 326-57. *Responses to, reprints of “The Feminist Critique…”, above: 1989 “Discussion: An Exchange on `The Feminist Critique of Art History’,” The Art Bulletin, v. LXXI, no. 1, March, 1989, 124-27. 1991 “Second Generation Art Criticism and Methodology” (one section of above article), reprinted in Howard Smagula, Re- Visions: New Perspectives of Art Criticism, Prentice-Hall, 1991. 1992 “Art Versus Craft,” reprinted in Women’s Studies: Thinking Women (one section of above article), eds. Jodi Wetzel, et.al., Univ. of Chicago Press, 1992. 1987 “A Dialogue of Silence: May Stevens’ Ordinary/Extraordinary, 1977-86,” Art Criticism, vol. 3, no.2, Spring, 1987, 34-42. 1986 * “Aurier and Van Gogh: Criticism and Response,” The Art Bulletin, March, 1986, v. XVIII no. 1, pp. 94-104; *Reprint of above (Aurier and Van Gogh): 1987 Reprinted in The Spiritual Image in Modern Art, ed. Kathleen J. Regier, Theosophical Publishing House, Wheaton, ILL, 1987, 13-39. 1986 “The Minotaur of London,” Apollo Magazine, v. CXXIII no. 291, May, 1986, 338-41. 1985 “Virginia Women Artists and the Female Experience in Art,” Virginia Women Artists, catalogue,
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