CURRICULUM VITA Dr. Patricia Mathews, Professor of 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 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 into art history courses)

Virginia Foundation for the Humanities and the Virginia for (to fund state wide exhibition of Virginia 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 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, ’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-, 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 .

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 CD-Rom Collection Catalogue, 1999

1998 Rachel Friedberg: Representations of the Feminine,” in Rachel Friedberg, ed. Robert Lubar, with essays by Lubar, , Eunice Lipton, etc.

“The Politics of 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, , 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 , 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 in the 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 ,” with Thalia Gouma-Peterson, Women’s Review of Books, v. V no. 6, Mar. 1988, 21-23.

Review of “Ruth Weisberg: Paintings, , 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, VPI&SU, 1985, 9-30. (Organized state-wide exhibition with jurors from New York; edited and wrote essay for color catalogue)

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1976 Co-Editor, Founder, Journal of Fine Arts, Univ. of N.C., Chapel Hill, Spring, 1976 (graduate student journal)

INVITED LECTURES 2005 “The Uneasy Bodies of Suzanne Valadon,” Keynote Speaker University of Colorado, Boulder, Graduate Art History Dept.

2001 “Feminist Methodologies: Psychoanalytic Theories,” Keynote Panel Barnard Feminist Art History Conference, Barnard College, NYC

“Gender, Class, and the Psychology of Repetition in the Nudes of Suzanne Valadon,” Miami University of Ohio

1999 “American Women Artists and Their European Colleagues: Women and the Avant-Garde,” Exhibition Keynote speaker Fort Wayne Museum of Art

1998 “Class, Sexuality, and Repetition in the Nudes of Suzanne Valadon,” Between the Past and the Present: Papers on Nineteenth-Century Art in Memory of Joseph C. Sloane, University of North Carolina

“Masculine Anxieties and Gendered Bodies: the Femme Fatale and the Androgyne in Late Nineteenth-Century French Symbolism,” lecture “The Disorienting Nudes of Suzanne Valadon,” Student Workshop, University of Arkansas

1997 “Family Matters: Representations of Family by Women Artists from Suzanne Valadon to Alice Neel,” University of California, Santa Barbara

1996 “Passionate Discontent: The Femme Fatale and the Androgyne in Late Nineteenth-Century France,” Washington University, St Louis

1994 “The Tyranny of Woman as Nature in Late Nineteenth-Century Europe,” University of Delaware

1993 “Audrey Flack’s Impolitic Body Politic,”

Curriculum Vita: Patricia Mathews Page 7 Audrey Flack Symposium, Oberlin College

“The Tyranny of Woman as Nature in Late Nineteenth-Century Europe,” Univ. of Pittsburgh

1993 “Politics and Art,” Visible Outrage Symposium, Ohio Wesleyan University

“Contemporary Women Artists and the Body,” Symposium on Women Artists, Earlham College

“Pedagogy as the Representation of Conflicting Voices,” Introducing Art History Symposium, Bryn Mawr College

1992 “The Tyranny of Woman as Nature in Late Nineteenth-Century Europe,” University of Rhode Island Kenyon College

1991 “PC: Political Correctness or Political Commitment?” Alumni Dinner Talk, Alumni Association Meetings, Oberlin College

Panel, “Feminism and Art,” Ohio State University

“Returning the Gaze: Representation and the Female Body,” College Convocation Hiram College

1990 “Returning the Gaze: Cultural Studies, Feminism and the Female Body,” In Series: Research Seminars: State, Welfare and Ideology, Dept. of Applied Social Studies, University of Bradford, Bradford, England

Invited to lecture at Leeds University, England Unable to schedule

“Feminist Methodologies, A Fruitful Complexity,” Symposium: Rethinking Representation: Art By Women, University of Iowa

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Feminism and Art, 1-day seminar, Denison University, March

1989 Feminism and Art, 3-day seminar, Kent State University

1989 Feminism and Art Faculty Seminar and Lecture Washington and Lee University

“Women and Representation: A Postmodern Dilemma,” Brown University

“From Representation to Re-Presentation: Women Present Themselves in Art: The Conflicted Image of the Nude in the Art of Suzanne Valadon,” Institute of Fine Arts, New York University

1988 “Theory: New Perspectives on Women’s Art,” Symposium, Panelist, The Was A Woman, Salem State College, Salem, MA

“Symbolism, the Creative Process and Gender Difference,” “La Reverie Esthetique”: Symbolist Symposium, Oberlin College

“Female Experience and Feminist Art History,” Franklin and Marshall, Lancaster PA,

“Art and Politics: The Art of May Stevens,” Symposium on May Stevens, Kenyon College

1987 Art History Panel, University of North Carolina

1986 “Italian Postmodern Painting: New Romanticism or Reactionary Authoritarianism?” Akron Art Museum

1985 “Art and the Female Perspective,” Thinking in New Ways, Public Presentation Lecture Series, Randolph-Macon Women’s College

1984 “Aurier’s Symbolist Aesthetic,” University of North Carolina

Curriculum Vita: Patricia Mathews Page 9

CONFERENCE LECTURES 1993 Women’s Caucus for Art, Seattle Relationships of Love, Devotion, and Passion: Cross-Cultural and Historic Perspectives in the Visual Arts, Invited Respondent

1992 Mid-West Art History Conference, Columbus, OH, Feminist Approaches to Art History Session Organizer

1991 College Art Association Conference, “The Center Does Not Hold: Marginal Art Enters the Mainstream,” Art History and the Rhetoric of Art History Today (Invited)

Barnard Feminist Art History Conference Organized session

1990 Berkshire Women’s History Conference, Rutgers University Art and Politics: Exploding the Metaphor,” Artists: Renee Green, Nancy Spiro, and Martha Rosler, Organized panel

Berkshire Women’s History Conference, Rutgers University “The Center Does Not Hold: Marginal Art Enters the Mainstream”

1989 Feminist Institute Symposium, Univ. of Western Ontario “Creativity and Gender Difference” (invited) l988 Centre for the Study of Theory and Criticism, Univ. of Western Ontario Theory Across the Disciplines “From Female Sensibility to Gender Difference: Changing Feminist Methodologies in Art Criticism”

1987 National Women’s Studies Conference, Atlanta “The Female Sensibility in Art and the Critique of Representation,”

College Art Association Symposium, Boston Art Without History “Modernism and the Denial of History: The Primitive Roots of Meaning in the Symbolist Period”

Women’s Caucus for Art National Conference, Boston, “Feminist Art Theory”

Curriculum Vita: Patricia Mathews Page 10

1986 Women’s Caucus for Art National Conference, N.Y.C. “From Representation to Re-Presentation: Women Present Themselves In Art”

OTHER PROFESSIONAL EXPERIENCE 2011 Kenyon College Honors Examiner, 2 students

2010 University of New Mexico Departmental Review: Art History Program (B.A., M.A., Ph.D.)

2009-13 Board of Directors, College Art Association Nominating Committee; Committee on Women in the Arts

2010 Hobart and William Smith Colleges Rome Study Abroad Program, Spring 2010 One semester

2007 Art Bulletin Mss. Review: “Gustave Moreau and the Reinvention of History Painting”

French Historical Studies Mss. Review, The Art of Posing Nude: Models, Moralists, Artists and the 1893 Bal des Quat’z-Arts”

Oberlin Colleges London Study Abroad Program Spring 2007, one semester, with Professor of Spanish, Ana Cara

2006 Kenyon College Honors Examiner

University of Missouri, St. Louis Tenure examiner

2005 Princeton University Press Mss. Review: Albert Boime, Revelation of Early Modernism: The Will-To-Power in Fin-de-Siècle Painting

National Women’s Studies Association Journal 3 Mss. Reviews for Feminist Activist Art Issue

2004 Thames and Hudson Textbook review, Modern Art

2003 Kenyon College

Curriculum Vita: Patricia Mathews Page 11 Honors Examiner

University of Delaware Tenure examiner

Syracuse University Tenure examiner

Univ. of California, Santa Cruz Tenure examiner

2001 Hamilton College Departmental Review, Art and Art History

Council for International Exchange of Scholars Fulbright Senior Specialist Advisory Panel Chair, one year

Univ. of Wisconsin Press Mss. reader

2000 Queens Univ., Canada Ph.D. Committee

2000,1999 Cambridge University Press Mss. Reader

1999 Hobart and William Smith Colleges Tenure examiner

1999, 1992 Swarthmore College Honors Examiner

1998 Albion College Program Review, Art Department

University of California Press Mss. reader

1997 Queens Univ., Canada Tenure/Full Professor Review

1996, 1997 Fulbright Senior Scholar Awards Mss. reader

1995-99 Univ. of Chicago Press Mss. reader

Curriculum Vita: Patricia Mathews Page 12 1995 University of Houston Tenure Review

University of New Mexico Tenure/Full Professor Review

1994-95 J. Paul Getty Postdoctoral Fellowships in the Reviewer

1994 Colby College Tenure Review

University of Western Ontario, Canada Tenure/Full Professor Review

1993 National Endowment for the Humanities Discipline Advisory Committee

1992 City University of New York Research Award Program in Art History, Reviewer

1992-95 Fulbright Senior Scholar Awards Discipline Advisory Committee 1994-95 Chair, Discipline Advisory Committee 1996-98 Pre-screening Committee

1991-1992 Barnard Feminist Art History Conference Co-Organizer with Thalia Gouma-Peterson Barnard College, N.Y.C.

1992-93 Barnard Feminist Art History Conference Steering Committee

1992 Miami University "Woman's Body of Work II," juror

1991 Allen Memorial Art Museum, Oberlin College "The Body and Other Twentieth-Century Metaphors" Co-Curated with Elizabeth Brown, Curator of Modern Art

1990-91 College Art Association Frank Jewett Mather Art Criticism Award Committee Member

College Art Association Women’s Caucus for Art Juror, Women's Art Show, Akron, Ohio

1990 Danenberg Oberlin-In-London Program, fall semester

Curriculum Vita: Patricia Mathews Page 13 "Contemporary Art and Music in Britain" with Prof. of Composition, Gary Nelson

1988-93 National Women's Studies Journal Mss. reader

Penn State Press Mss. reader

UMI Research Press Mss. reader

Woman's Art Journal Mss. reader

1988 Allen Memorial Art Museum, Oberlin College Exhibiiton, "La reverie esthetique: Symbolist works on paper," & Symposium Co-Curated with Curator Larry Feinberg

1987- 90 National Women's Caucus for Art Chair, Honors Award Committee

1986 Art Criticism: Two-week Seminar Craig Owens, Donald Kuspit Oberlin College Organizer

1984-85 Virginia Polytechnic and State University Project Director and Editor Virginia Women Artists: Female Experience In Art, Statewide juried exhibition, 100-page catalogue

Women's Museum of Art, Washington, D.C. Consultant

Mountain Lake Criticism Conference Program Director

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