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Richard Shiff RICHARD SHIFF Office: Department of Art and Art History The University of Texas at Austin 2301 San Jacinto Boulevard Stop D1300 Austin, TX 78712-1421 (512) 471-7547 FAX: (512) 471-7548 [email protected] Home: 1301 West Lynn, #304 Austin, TX 78703 (512) 495-9422 Citizenship: USA Education: Harvard College, 1961-65. BA, 1965, "Magna cum laude with Highest Honors in Architectural Sciences." Phi Beta Kappa. Harvard Graduate School of Design, 1965. Professional study in architecture. Harvard Graduate School of Arts and Sciences. Special Student in Fine Arts, 1966. Graduate study in history of art. Yale Graduate School, 1966-71. MA, 1969. PhD, 1973, in History of Art. Dissertation title: "Impressionist Criticism, Impressionist Color, and Cézanne." Teaching Appointments: Effie Marie Cain Regents Chair in Art, and Director, Center for the Study of Modernism, The University of Texas at Austin, 1989 to present. Visiting Professor of Art History, Emory University, Spring 1994. Professor of Art, University of North Carolina at Chapel Hill, 1986-88. Whitney Halstead Visiting Professor, School of the Art Institute of Chicago, Fall 1987. Visiting Professor of History of Art, Yale University, Fall 1985. Associate Professor of Art, University of North Carolina at Chapel Hill, 1978-86. Assistant Professor in the Department of Art, the Committee on Art and Design, and the Committee on General Studies in the Humanities, University of Chicago, 1974-78. Assistant Professor of Art, Tyler School of Art, Temple University, 1971-74. Major post-doctoral fellowships and awards: Distinguished Teaching of Art History award, College Art Association, 2010. Getty Senior Research Grant, 1996-97. John Simon Guggenheim Fellowship, 1985-86. National Humanities Center Fellow, Spring 1986. Mellon Fellow in the Humanities, University of Pennsylvania, 1979-80. 2 Richard Shiff -- Publications Books: Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art (Chicago: University of Chicago Press, 1984). French edition: Cézanne et la fin de l'impressionnisme: théorie, technique et évaluation critique de l'art moderne, trans. Jean-François Allain (Paris: Flammarion, 1995). Spanish edition: Cézanne y el fin del impresionismo: Estudio de la teoría, la técnica y la valoración crítica del arte moderno, trans. Daniel Aguirre Oteiza and Roser Vilagrasa (Madrid: A. Machado, 2002). Reprinted excerpts: "Defining 'Impressionism' and the 'Impression'," in Francis Frascina and Jonathan Harris, eds., Art in Modern Culture: An Anthology of Critical Texts (London: Phaidon, 1992), 181-88. "The Poussin Legend" [in Japanese], trans.Takanobu Tobishima and Shin'ichiro Matsuoka, Eureka 28 (September 1996): 136-47. Paul Cézanne (New York: Rizzoli, 1994). Barnett Newman: A Catalogue Raisonné [co-authored with Carol C. Mancusi-Ungaro and Heidi Colsman-Freyberger] (New York: Yale University Press, 2004). Doubt (New York: Routledge, 2008). Between Sense and de Kooning (London: Reaktion, 2011). Ellsworth Kelly: New York Drawings 1954-1962 (Munich: Prestel, 2014). Books in progress: A collection of my published essays, expanded and revised, with a comprehensive introduction (Chicago: University of Chicago Press). A selection of my published essays in German translation, with an introduction by Stephan Neuner (Zurich: Diaphanes). Edited Book: Critical Terms for Art History [co-edited with Robert S. Nelson] (Chicago: University of Chicago Press, 1996). Second edition: (Chicago: University of Chicago Press, 2003). Includes my essays "Originality" (103-15; 2nd ed., 145-59) and "Afterword: Figuration" (323-28; 2nd ed., 479-85). Japanese edition: Tokyo: Brücke, 2002. Slovokian edition: Bratislava: Soros Center for Contemporary Art, 2004. Korean edition: Seoul: Artbooks, 2006; second edition, Mijin, forthcoming. Serbo-Croatian edition: Belgrad: SVETOVI, 2007. Chinese edition: Nanjing University Press, forthcoming. 3 Journal articles, essays, book chapters, book introductions: "Seeing Cézanne," Critical Inquiry 4 (Summer 1978): 769-808. "Art and Life: A Metaphoric Relationship," Critical Inquiry 5 (Autumn 1978): 107-22. Reprinted in: Sheldon Sacks, ed., On Metaphor (Chicago: University of Chicago Press, 1979), 105-20; Sally Everett, ed., Art Theory and Criticism (Jefferson, N.C.: McFarland, 1991), 154-69. "The End of Impressionism: A Study in Theories of Artistic Expression," Art Quarterly, NS, 1 (Autumn 1978): 338-78. "The Art of Excellence and the Art of the Unattainable," Georgia Review 32 (Winter 1978): 829-41. "History and Innovation" [co-authored with Carl Pletsch], Critical Inquiry 7 (Spring 1981): 634-38. "Miscreation," Studies in Visual Communication 7 (Spring 1981): 57-71. "The Technique of Originality: 'Innocence' and Artifice in the Painting of Corot, Monet, and Cézanne," Studies in Visual Communication 8 (Autumn 1982): 2-32. "Mastercopy," Iris (Paris) 1, no. 2 (1983): 113-27. "Representation, Copying, and the Technique of Originality," New Literary History 15 (Winter 1984): 333-63. "The Original, the Imitation, the Copy, and the Spontaneous Classic: Theory and Painting in Nineteenth-Century France," Yale French Studies, no. 66 (1984): 27-54. "Making a Find: An Argument for Creativity, Not Originality," Structuralist Review 2, no. 3 (Spring 1984): 59-80. "Remembering Impressions," Critical Inquiry 12 (Winter 1986): 439-48. "The End of Impressionism" (revised version), in Charles Moffett, ed., The New Painting: Impressionism 1874-1886 (San Francisco: The Fine Arts Museums of San Francisco, 1986), 60-89. "Handling Shocks," New Observations, no. 47 (1987): 14-19. "Performing an Appearance: On the Surface of Abstract Expressionism," in Michael Auping, ed., Abstract Expressionism: The Critical Developments (New York: Harry N. Abrams, for the Albright-Knox Art Gallery, 1987), 94-123. "Anamorphosis: Jasper Johns," in James Cuno, ed., Foirades / Fizzles: Echo and Allusion in the Art of Jasper Johns (Los Angeles: Wight Art Gallery, 1987), 147-66. "On Criticism Handling History," History of the Human Sciences 2, no. 1 (1989): 63-87. Preliminary version: "On Criticism Handling History," Art Criticism 3, no. l (Autumn 1986): 60-77. 4 "Painting, Writing, Handwriting: Roger Fry and Paul Cézanne," introduction to Roger Fry, Cézanne: A Study of His Development (Chicago: University of Chicago Press, 1989), x-xxviii. "Phototropism (Figuring the Proper)," Studies in the History of Art 20 (1989): 161-179. Abridged version: "Phototropism (Figuring the Proper)," Photographic INsight 1, nos. 2-3 (Winter-Spring 1988): 19-34. "Picasso's Touch: Collage, Papier collé, Ace of Clubs," Yale University Art Gallery Bulletin, 1990, 38-47. ["To Create Oneself: Barnett Newman's Writings"], introduction to John P. O'Neill, ed., Barnett Newman: Selected Writings and Interviews (New York: Alfred A. Knopf, 1990), xiii-xxviii. German edition: Barnett Newman: Schriften und Interviews 1925-1970, trans. Tarcisius Schelbert (Bern and Berlin: Gachnang & Springer, 1996), 11-29. French edition: Barnett Newman: Ecrits, trans. Jean-Louis Houdebine (Paris: Macula, 2011), 9-26. "Constructing Physicality," Art Journal 50 (Spring 1991): 42-47. ["Gasquet's Portrait of Cézanne"], introduction to Joachim Gasquet's Cézanne: A Memoir with Conversations, trans. Christopher Pemberton (London: Thames and Hudson, 1991), 15-24. "Cézanne's Physicality: The Politics of Touch," in Salim Kemal and Ivan Gaskell, eds., The Language of Art History (Cambridge: Cambridge University Press, 1991), 129-80. French translation of this essay: Flammarion, 1995. Spanish translation of this essay: Machado, 2002. Japanese translation of this essay: Art Trace, 2012 ….. "The Necessity of Jimmie Durham's Jokes," Art Journal 51 (Fall 1992): 74-80. "'Il faut que les yeux soient émus': impressionnisme et symbolisme vers 1891," Revue de l'art, no. 96 (1992): 24-30. This essay republished by Flammarion, 1995. Spanish translation of this essay: Machado, 2002. "Handling Shocks: On the Representation of Experience in Walter Benjamin's Analogies" (expanded version), Oxford Art Journal 15, no. 2 (1992): 88-103. "The Work of Painting: Camille Pissarro and Symbolism," Apollo 136 (November 1992): 307-10. "Cézanne and Poussin: How the Modern Claims the Classic," in Richard Kendall, ed., Cézanne & Poussin: A Symposium (Sheffield: Sheffield Academic Press, 1993), 51-68. "Water and Lipstick: de Kooning in Transition," in Marla Prather, ed., Willem de Kooning: Paintings [exh. cat., National Gallery of Art, Washington] (New Haven: Yale University Press, 1994), 32-73. Reprinted excerpt: Ellen G. Landau, ed., Reading Abstract Expressionism: Context and Critique (New Haven: Yale University Press, 2005), 594-615. "Original Copy," Common Knowledge 3 (Spring 1994): 88-107. 5 "Flexible Time," Art Bulletin 76 (December 1994): 583-87. Greek translation: Kritiki & Techni 3 (2009): 10-20. "Imitation of Matisse," in Caroline Turner and Roger Benjamin, eds., Matisse [exh. cat.] (Brisbane: Queensland Art Gallery, 1995), 41-51. ["Judgment of History"], Critical Reflections series, Artforum 34 (October 1995): 82-83, 124-25. "Ascribing to Manet, Declaring the Author," introduction to Bradford R. Collins, ed., Twelve Views of Manet's 'Bar' (Princeton: Princeton University Press, 1996), 1-24. "On Passing Through Skin: Technology of Art and Sensation," Public 13 (1996): 14-31. Excerpt republished as "Switches," Public 20 (2000): 78-81. "Light's Articulation: Solomon's Temple," introduction to James Alinder, ed., Solomon's Temple: The European Building-Crafts
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