Conference Presentations by Patricia Hills
Published in Women's Caucus for Art Honor Awards for Outstanding Achievement in the Visual Arts, ... more Published in Women's Caucus for Art Honor Awards for Outstanding Achievement in the Visual Arts, 17th Annual Exhibition and Ceremony, Brandeis University, 21 February 1996.
Tribute to an outstanding Boston sculptor.
Bookmarks Related papers MentionsView impact
Published in Women's Caucus for Art Honor Awards for Outstanding Achievement in the Visual Arts, ... more Published in Women's Caucus for Art Honor Awards for Outstanding Achievement in the Visual Arts, 8th Annual Exhibition and Ceremony, Boston, 11 February 1987.
A written tribute to a major curator, one of the few women curators to achieve prominence in mid-century America.
Bookmarks Related papers MentionsView impact
Unpublished conference paper, given at the Organization of American Historians conference on Apri... more Unpublished conference paper, given at the Organization of American Historians conference on April 12, 1986.
Paper challenges the concept of "the masterpiece," referring back to Sir Kenneth Clark's theories of the masterpiece, and analyzes the opportunistic use of the term in the 1980s among the elites and museum PR staff.
Bookmarks Related papers MentionsView impact
Published in Ruth Fine and Jacqueline Francis, eds. Romare Bearden, American Modernist. National... more Published in Ruth Fine and Jacqueline Francis, eds. Romare Bearden, American Modernist. National Gallery of Art, Studies in the History of Art, Vol. 71. Washington DC, 2011.
Argues that the cultural legacies of living in the South (such as using newspaper and magazine pages as "wallpaper") influenced Bearden, Lawrence, Benny Andrews, Faith Ringgold and other artists in their attitudes about the collage aesthetic.
Bookmarks Related papers MentionsView impact
Paper not actually delivered at an Art Fair event at the Chicago Mart that the College Art Associ... more Paper not actually delivered at an Art Fair event at the Chicago Mart that the College Art Association hatched in 2011.
Begins: "We are talking today about censorship, but I worry equally about self-censorship. Self-censorship is what some of us practice if we want to work within the museum world or to apply for funds that the government might provide. Censorship is what Martin Sullivan, director of the National Portrait Gallery, exercised when he decided to remove from exhibition the David Wojnarowicz piece called " Fire in the Belly " from the Hide/Seek exhibition. Self-censorship is what happens when you eliminate controversial works even before putting them on exhibition. Or when you modify your words in order to accommodate yourself to the prevailing ideology. Or when you are silent when you should speak out. Self-censorship is what the state, especially when it calls itself a democracy, depends upon to secure its hegemony and to stifle dissent. What does this have to do with the Cold War? Well, let me take my allotted time slot to make those connections. For I would argue that the Cold War never ended. And that the various issues that invite censorship relate back to the master narrative of political censorship. Thinking back, we define the Cold War as that period following World War II when the United States fiercely competed with the Soviet Union over control of the world's resources— which, as we now realize, meant control of the production and distribution of oil and energy resources. To persuade the masses of citizens on each side, each block—the Soviets and the US—couched their competition in ideological terms. The USSR derided capitalist selfishness, individualism, and racism in the US and promoted the ideals of collectivist cooperation. The U.S. demonized communism as thought-control and promoted the freedom of the free enterprise system. The ideology spilled over into the museum world, when the rhetoric of " freedom " became the justification for abstract painting. Today, we must look at the Koch brothers and the ways the cultural landscape has been affected by their influence."
Bookmarks Related papers MentionsView impact
Published in Hollister Sturgis, ed., The Rural Vision: France and America in the Late Nineteenth... more Published in Hollister Sturgis, ed., The Rural Vision: France and America in the Late Nineteenth Century. Omaha: Joslyn Art Museum, 1987. pp. 63-82.
Originally presented at a symposium held at the Joslyn Art Museum, Omaha, Nebraska, organized by Hollister Sturgis.
Bookmarks Related papers MentionsView impact
Published in Andrew Hemingway and Will Vaughn, eds. Art in Bourgeois Society, 1790-1850. Cambri... more Published in Andrew Hemingway and Will Vaughn, eds. Art in Bourgeois Society, 1790-1850. Cambridge: Cambridge University Press, 1998, pp. 314-349.
Originally a conference presentation to the Association of Art Historians, London.
Bookmarks Related papers MentionsView impact
Published in Malcolm Gee, ed., Art Criticism Since 1900. Manchester, England: Manchester Univer... more Published in Malcolm Gee, ed., Art Criticism Since 1900. Manchester, England: Manchester University Press, 1993. pp. 143-63.
First presented at the AAH conference, London. Session convened by Malcolm Gee.
Abstract: "In this essay I want to sketch out an argument premised on two propositions: first, the the modern corporate state, a political and economic phenomenon, and modernism, a cultural phenomenon, are complexly interdependent, with the former providing the conditions for the efflorescence and development of the latter, while the latter furnishes the cultural window dressing for the former; and second, that in trying to understand the mediations between the modern corporate state and modernism, we might find it useful to examine the role played by rhetoric."
Analysis of the writings of historical figures: Arthur Jerome Eddy and Willard Huntington Wright for the period 1915-20 and Alfred H. Barr, Jr. for the period 1943-56.
Bookmarks Related papers MentionsView impact
Published in Prospects: A Journal of American Cultural Studies, Vol 11-Essays (1987): 217-230.
... more Published in Prospects: A Journal of American Cultural Studies, Vol 11-Essays (1987): 217-230.
Originally given as a talk at the Berkshire Conference on Women, 1984.
Bookmarks Related papers MentionsView impact
Essays from the Lowell Conferences on Industrial History, 1982
"The Fine Arts in America: Images of Labor from 1800 to 1950," in Essays from the Lowell Confere... more "The Fine Arts in America: Images of Labor from 1800 to 1950," in Essays from the Lowell Conferences on Industrial History, 1982 and 1983, ed. Robert Weible. North Andover, MA: Museum of American Textile History, 1985, pp. 120-64.
Survey of images of labor. Published version of paper.
Bookmarks Related papers MentionsView impact
Books/Book Chapters by Patricia Hills
Multiplicity: Blackness in Contemporary American Collage, 2023
Bookmarks Related papers MentionsView impact
The Unforgettables: Expanding the History of American Art, 2022
Bookmarks Related papers MentionsView impact
The Multicultural Modernism of Winold Reiss: (Trans)national Approaches to His Work, 2022
Bookmarks Related papers MentionsView impact
The Routledge Companion to African American Art History, 1st edition, 2020
Bookmarks Related papers MentionsView impact
For America: Paintings from the National Academy of Design, 2019
Bookmarks Related papers MentionsView impact
Published in Artists of the Commonwealth: Realism in Pennsylvania Painting, 1950-2000. Loretta ... more Published in Artists of the Commonwealth: Realism in Pennsylvania Painting, 1950-2000. Loretta PA: Southern Alleghenies Museum of Art, 2001.
Short essay focused on Neel's portrait of Clement Greenberg's daughter.
Exhibition traveled.
Bookmarks Related papers MentionsView impact
Essay for catalogue, Published in Dread Scott: Welcome to America. Beb 28-June 1, 2008.
Bookmarks Related papers MentionsView impact
Published in Teresa A. Carbone and Patricia Hills. Eastman Johnson: Painting America. Exh. Cat... more Published in Teresa A. Carbone and Patricia Hills. Eastman Johnson: Painting America. Exh. Cat. New York: Brooklyn Museum of Art in association with Rizzoli International Publications, 1999.
Catalogue essay. Exhibition traveled to the San Diego Museum of Art and the Seattle Art Museum. Hills's essay focused on Johnson's paintings of African Americans and the meaning they had for his contemporaries.
Bookmarks Related papers MentionsView impact
Published in Philip Evergood: A Tribute. New York: Terry Dintenfass Gallery, 1993.
Brief essay... more Published in Philip Evergood: A Tribute. New York: Terry Dintenfass Gallery, 1993.
Brief essay for exhibition catalogue.
Bookmarks Related papers MentionsView impact
Published in Elizabeth Hutton Turner, ed. Jacob Lawrence: The Migration Series. Washington DC:... more Published in Elizabeth Hutton Turner, ed. Jacob Lawrence: The Migration Series. Washington DC: The Rappahannock Press in assocition with The Phillips Collection, 1993.
Essay for catalogue.
Bookmarks Related papers MentionsView impact
Uploads
Conference Presentations by Patricia Hills
Tribute to an outstanding Boston sculptor.
A written tribute to a major curator, one of the few women curators to achieve prominence in mid-century America.
Paper challenges the concept of "the masterpiece," referring back to Sir Kenneth Clark's theories of the masterpiece, and analyzes the opportunistic use of the term in the 1980s among the elites and museum PR staff.
Argues that the cultural legacies of living in the South (such as using newspaper and magazine pages as "wallpaper") influenced Bearden, Lawrence, Benny Andrews, Faith Ringgold and other artists in their attitudes about the collage aesthetic.
Begins: "We are talking today about censorship, but I worry equally about self-censorship. Self-censorship is what some of us practice if we want to work within the museum world or to apply for funds that the government might provide. Censorship is what Martin Sullivan, director of the National Portrait Gallery, exercised when he decided to remove from exhibition the David Wojnarowicz piece called " Fire in the Belly " from the Hide/Seek exhibition. Self-censorship is what happens when you eliminate controversial works even before putting them on exhibition. Or when you modify your words in order to accommodate yourself to the prevailing ideology. Or when you are silent when you should speak out. Self-censorship is what the state, especially when it calls itself a democracy, depends upon to secure its hegemony and to stifle dissent. What does this have to do with the Cold War? Well, let me take my allotted time slot to make those connections. For I would argue that the Cold War never ended. And that the various issues that invite censorship relate back to the master narrative of political censorship. Thinking back, we define the Cold War as that period following World War II when the United States fiercely competed with the Soviet Union over control of the world's resources— which, as we now realize, meant control of the production and distribution of oil and energy resources. To persuade the masses of citizens on each side, each block—the Soviets and the US—couched their competition in ideological terms. The USSR derided capitalist selfishness, individualism, and racism in the US and promoted the ideals of collectivist cooperation. The U.S. demonized communism as thought-control and promoted the freedom of the free enterprise system. The ideology spilled over into the museum world, when the rhetoric of " freedom " became the justification for abstract painting. Today, we must look at the Koch brothers and the ways the cultural landscape has been affected by their influence."
Originally presented at a symposium held at the Joslyn Art Museum, Omaha, Nebraska, organized by Hollister Sturgis.
Originally a conference presentation to the Association of Art Historians, London.
First presented at the AAH conference, London. Session convened by Malcolm Gee.
Abstract: "In this essay I want to sketch out an argument premised on two propositions: first, the the modern corporate state, a political and economic phenomenon, and modernism, a cultural phenomenon, are complexly interdependent, with the former providing the conditions for the efflorescence and development of the latter, while the latter furnishes the cultural window dressing for the former; and second, that in trying to understand the mediations between the modern corporate state and modernism, we might find it useful to examine the role played by rhetoric."
Analysis of the writings of historical figures: Arthur Jerome Eddy and Willard Huntington Wright for the period 1915-20 and Alfred H. Barr, Jr. for the period 1943-56.
Originally given as a talk at the Berkshire Conference on Women, 1984.
Survey of images of labor. Published version of paper.
Books/Book Chapters by Patricia Hills
Short essay focused on Neel's portrait of Clement Greenberg's daughter.
Exhibition traveled.
Catalogue essay. Exhibition traveled to the San Diego Museum of Art and the Seattle Art Museum. Hills's essay focused on Johnson's paintings of African Americans and the meaning they had for his contemporaries.
Brief essay for exhibition catalogue.
Essay for catalogue.
Tribute to an outstanding Boston sculptor.
A written tribute to a major curator, one of the few women curators to achieve prominence in mid-century America.
Paper challenges the concept of "the masterpiece," referring back to Sir Kenneth Clark's theories of the masterpiece, and analyzes the opportunistic use of the term in the 1980s among the elites and museum PR staff.
Argues that the cultural legacies of living in the South (such as using newspaper and magazine pages as "wallpaper") influenced Bearden, Lawrence, Benny Andrews, Faith Ringgold and other artists in their attitudes about the collage aesthetic.
Begins: "We are talking today about censorship, but I worry equally about self-censorship. Self-censorship is what some of us practice if we want to work within the museum world or to apply for funds that the government might provide. Censorship is what Martin Sullivan, director of the National Portrait Gallery, exercised when he decided to remove from exhibition the David Wojnarowicz piece called " Fire in the Belly " from the Hide/Seek exhibition. Self-censorship is what happens when you eliminate controversial works even before putting them on exhibition. Or when you modify your words in order to accommodate yourself to the prevailing ideology. Or when you are silent when you should speak out. Self-censorship is what the state, especially when it calls itself a democracy, depends upon to secure its hegemony and to stifle dissent. What does this have to do with the Cold War? Well, let me take my allotted time slot to make those connections. For I would argue that the Cold War never ended. And that the various issues that invite censorship relate back to the master narrative of political censorship. Thinking back, we define the Cold War as that period following World War II when the United States fiercely competed with the Soviet Union over control of the world's resources— which, as we now realize, meant control of the production and distribution of oil and energy resources. To persuade the masses of citizens on each side, each block—the Soviets and the US—couched their competition in ideological terms. The USSR derided capitalist selfishness, individualism, and racism in the US and promoted the ideals of collectivist cooperation. The U.S. demonized communism as thought-control and promoted the freedom of the free enterprise system. The ideology spilled over into the museum world, when the rhetoric of " freedom " became the justification for abstract painting. Today, we must look at the Koch brothers and the ways the cultural landscape has been affected by their influence."
Originally presented at a symposium held at the Joslyn Art Museum, Omaha, Nebraska, organized by Hollister Sturgis.
Originally a conference presentation to the Association of Art Historians, London.
First presented at the AAH conference, London. Session convened by Malcolm Gee.
Abstract: "In this essay I want to sketch out an argument premised on two propositions: first, the the modern corporate state, a political and economic phenomenon, and modernism, a cultural phenomenon, are complexly interdependent, with the former providing the conditions for the efflorescence and development of the latter, while the latter furnishes the cultural window dressing for the former; and second, that in trying to understand the mediations between the modern corporate state and modernism, we might find it useful to examine the role played by rhetoric."
Analysis of the writings of historical figures: Arthur Jerome Eddy and Willard Huntington Wright for the period 1915-20 and Alfred H. Barr, Jr. for the period 1943-56.
Originally given as a talk at the Berkshire Conference on Women, 1984.
Survey of images of labor. Published version of paper.
Short essay focused on Neel's portrait of Clement Greenberg's daughter.
Exhibition traveled.
Catalogue essay. Exhibition traveled to the San Diego Museum of Art and the Seattle Art Museum. Hills's essay focused on Johnson's paintings of African Americans and the meaning they had for his contemporaries.
Brief essay for exhibition catalogue.
Essay for catalogue.
Small catalogue accompanied an exhibition of his excerpts, held at the Boston University Art Gallery.
Theoretical and thoughtful essay written by Jim Drobnik.
Essay for exhibition catalogue of the Boston artist Lois Tarlow's work.
Berlin: Elefanten Press Verlag, 1983.
Published for the catalogue of an exhibition that traveled throughout Germany in 1983-84. Essay revised and published in Essays from the Lowell Conference
Catalogue essay on Gropper's art and life for exhibition catalogue.
Excerpt: "The Mediterranean world of hot, motionless streets, gleaming whitewashed buildings and clear azure skies invites and confounds the viewer of Elena Borstein's recent paintings. We are drawn into the scenes but we move along the receding labyrinthian streets as silent and anonymous strangers in a world created long before we were born and which will exist long after we take our leave.
Survey of Lawrence's life-long involvement with prints.
Essay focuses on the patrons of the American Art-Union, their ambitions, and their ambitions for the USA.
Essay on a major Boston-area printmaker and his prints of decaying industrial forms.
Essay discusses the racist climate of the 1960s, Lawrence's sympathy with the protesters, and the strong images he created to express that protest.
Catalogue for exhibition held at the George Washington University Dimock Gallery, 1996, and which traveled to the Boston University Art Gallery, 1998.
Survey of the life-time work of Pineda. Essay focuses on women and their experiences, for example, pregnancy, and discusses the statue of Queen Lili'oukalani for the Hawai'i State Capitol.
Issue devoted to the fiftieth anniversary of the American Art Journal.
Review of exhibition held at the Jerter Art Gallery, University of Massachusetts, Amherst.
Analyzes Sloan's socialist politics and their impact on his images of women in his paintings and in his graphic work.
Originally given as a CAA presentation.
Focuses on Evergood's history of sympathy for the working classes and his own involvement in a 1936 Sit-Down Strike at the WPA offices in New York.
Reviews art history textbooks and particularly the recent reprint of H. W. Janson's History of Art and finds the textbooks lacking in terms of representing women artists and artists of color. [See later review of Robert Hughes textbook.]
Based on interviews with Linda Nochlin, Charlotte Rubinstein, May Stevens, Joyce Kozloff, and Barbara Zucker.
Essay assesses political artists of the 1980s including Sue Coe, Bonnie Donohue, Leon Golub, Hans Haacke, Jerry Kearns, Barbara Kruger, Faith Ringgold, Harold Tovish, and others, plus the the writings of critics Lucy Lippard Donald Kuspit, and William Olander.
Essay ranges over many topics of interest in the late 1980s.
Essay on criticism as practiced in the 1980s.
Analyzes the 1947 commission from Fortune and Lawrence's travels to the Jim Crow South to research the post-war situation for African Americans.
Analyzes the Civil War context in which Eastman Johnson painted The Field Hospital and the subsequent drawing owned by the Minneapolis Institute of Art.
Essay argues that there was a flowering of the arts in America including the popular arts of political cartoons, magazine illustration, social documentary photography as well as fine arts photography.
An analysis of Meyer Schapiro's writings in the context of the Communist party and the Left during the 1930s.
Conversation with historian Joshua Brown about the importance of history to the field of art history.
An analysis of the series and the ways the individual compositions set up rhythms much like "call and response."
A fuller discussion can be found in Patricia Hills, Painting Harlem Modern: The Art of Jacob Lawrence. (Berkeley, CA: University of California Press, 2009,.
Excerpt from The Painters' American: Rural and Urban Life, 1810-1910, Whitney Museum of American Art exhibition and catalogue, Fall 1974.
Review of "Mixed Blessings: New Art in a Multicultural America."
Critical look at Hughes's textbook's superficiality.
Review essay of three major books on American genre painting.
Argues that Guilbaut has raised important issues in his book about the ways art "was made to coincide" with the government's propaganda efforts in the Cold War. The review draws attention to the shifting attitudes of Arthur Schlesinger, Jr.
Exhibition Review of Eakins exhibition originating at the Philadelphia Museum of Art and that traveled to the Museum of Fine Arts, Boston.
Published as a synopsis of exhibition, "The American Frontier: Images and Myths," Whitney Museum of American Art, Summer 1973
Published in advanced of exhibition Eastman Johnson, Whitney Museum of American Art, curated by Patricia Hills.
Exhibition "Kiki Smith: Unfolding the Body--An Exhibition of the Work in Paper. Rose Art Museum, Brandeis University, Waltham, MA.
35 works on exhibition of which Hills said: "The exhibition is at once beautiful and sublime--riveting our attention, seizing our minds, and jackknifing our memories"
A Preview of an exhibition at the Boston University Art Gallery, curated by Patricia Hills. Compares socially concerned artists of the 1980s with those of the 1930s.
Realist artists include: Ralph Goings, Neil Welliver, Joseph Raffael, Jack Beal, Janet Fish, Robert Cottingham, Chuck Close, Wayne Thiebaud, James Valerio, William Beckman.
Essay ranges over trends in museums, and includes a discussion of Fred Wilson's Mining the Museum and the book Equatoria by Richard and Sally Price.
Essay is one of Hills's "Art in Context" series.
Essay in Hills's "Art in Context" series.
Part of Hills's "Art in Context" series for Art New England.
About 1500 word essay on the career of May Stevens, a late 20th century feminist and activist artist.
For a fuller discussion see the book by Patricia Hills, May Stevens, 2005.
About 1500 word essay on the career of one of the few recognized women artists of the mid-19th century.
About 1500 word essay on the career of Elizabeth Catlett
I am writing to recommend highly Caroline Riley for your Postdoctoral Fellowship, so that she can finish converting her dissertation into a book to be called “MoMA Goes to Paris in 1938: Building and Politicizing the American Art Canon.”
Caroline Riley began her doctoral studies at BU at Boston University in the Fall 2011 Semester, with one of our prestigious three-year Jan and Warren Adelson Fellowships. That fall she took my graduate colloquium in 20th-Century American Painting (which includes 3 hours/wk attendance in the undergraduate lecture on the same subject), and for the Spring 2012 semester she took my graduate seminar on the Visual Culture of the Civil War Era.
She was one of the stellar students in the classes she took. She came always prepared with the readings and took a leadership role in the seminar discussion. For the 20th-Century Colloquium, she wrote an excellent essay review comparing Theresa Leininger-Miller’s New Negro Artists in Paris with Elizabeth Hutton Turner’s Americans in Paris exhibition catalogue. She grasped the theses of both books and critiqued them with an appreciation of the authors’ intentions and a grasp of the intellectual issues at stake. For the seminar on the Civil War Era, she turned her attention to the French firm Goupil and the fine arts prints they produced of American paintings, such as William Sydney Mount’s Bones Player. For the Goupil paper, she was able to go to Paris during spring vacation and research the Goupil archives there. The papers for both courses were beautifully written.
I might add that I knew Dr. Riley when she was an undergraduate at Boston University some ten or more years ago. She stood out as an extraordinary student in my class on 19th-Century American painting, for which she researched settlement houses in Boston and then wrote an excellent paper on the pottery of the “Saturday Evening Girls,” a group of unmarried, poor girls associated with one of the settlement houses. Even then she had a knack for fastidious research, for exploring the unusual and curious, and for organizing her thoughts into an excellent paper.
For her dissertation, “’Ambassadors of Good Will’: Constructing American Art History in 1930s Europe” she explored the global reach of American art by analyzing the collaboration between the Museum of Modern Art and the Musée du Luxembourg to bring a large selection (some 420 objects including films) of American art to Europe in 1938, called Three Centuries of American Art. Caroline wanted to “demonstrate this singular exhibition’s profound historical, ideological, and cultural effects on a global level.” Caroline had the breadth of knowledge, research skills, and the sophistication to make a convincing case. Her first chapter looked at the organizational aspects of the exhibition from start to finish. Her second chapter explored the motivations of the organizers in this fraught time, 1938, and the political dimensions of such a show. The third chapter examined the art history that the MoMA created for the United States in their selection, an art history that included the immigrants’ experiences. The fourth analyzed the critical reception to the show in Europe, and finally the fifth chapter looked at the staying power of the art history that MoMA curators constructed for the United States. This exhibition, as Caroline pointed out, was the precursor to the exhibitions sent to both Europe and Latin America during the Cold War years.
At first I was skeptical of a dissertation devoted to one exhibition, but this particular exhibition because of its ambitious international goals warranted such a study. It presents a paradigm for the post-war influential exhibitions sent abroad by US museums in collaboration with the United States Information Agency (called US Information Service in Europe) as projects to influence the reception of “the American way.” It will be a model for other such studies.
She is a scholar who tries out new methodologies and theories to shed light on the contextual issues of art history. At the same time, she knows how to probe archives and to read between the lines for nuances. (She told me that she made 2200 photos of pages from archives both in the US
and abroad. And by sifting through these pages she is shaping the chronology of events and interpreting the various players’ motivations.) Her thinking has matured since she defended her dissertation. Her proposal is self-assured; her mission is to analyze “MoMA’s role in formulating a vision of American art history that was both modernist and international” and extreme influential.
And Dr. Riley will finish this book manuscript in a timely way, as she has her other projects.
While she was still at BU, I observed her teaching. She is an excellent teacher, who holds her students to high standards while also providing them with a supportive and friendly environment.
She is very much what we call a “switch hitter,” able to teach in depth both 19th- and 20th-century American art history. For the last 2 ½ years she has taken on a range of topics as an Adjunct Lecturer at San Jose State University: History and Theory of Graphic Design; The Thing in Contemporary Art; Contemporary Architecture; Modern Architecture; Art of the Americas; and History of Interior Design. As a lecturer at UC Davis last spring, she also taught a course on the Cultural History of Museums. These courses are relevant to her book project.
In addition: While at Boston University and although immersed in archival work for her dissertation, she organized (with a shoe-string budget) an exhibition for the BU Art Gallery (Nov-Dec 2014) called Craft & Modernity: Professional Women Artists in Boston (1890-1920), which highlighted professional women artists (Ethel Reed, Alice Austin, Edith Brown, Sara Galner, Edith Guerrier, and Mary Northend) influenced by the Arts and Crafts movement and by the new technologies, and living or working in Boston during the late 19th- and early 20th-century. In connection with the exhibition she also organized a successful conference which focused on women and craft at the turn of the 19th century.
Published in Delia Gaze, ed., Dictionary of Women Artists. London: Fitzroy Dearborn Publishers, 1997.
About 1500 word essay on the career of Augusta Savage.
About 1500 word essay on the career of Alice Neel.
Short biography of Eastman Johnson (1824-1906) American Portrait and Genre Painter
Bio on the artist and extended discussions of a Civil War painting and three Post-CW genre paintings.
Bio of artist and extended discussions of two subject pictures.
Bio of artist and extended discussion of "Domestic Happiness"
Extended discussion of a genre painting by J. G. Brown. The bio was authored by Janice Simon.
Bio on artist and extended discussion of a Civil War painting
Bio on the artist and extended discussion of a famous Montauk whose body was coincidentally found in the dunes at the moment that Long Island real estate began to boom because the tribe of the Montauk no longer lived on LI and hence could not invoke their usufruct privileges.
Bio on the artist and extended discussions on two portraits, a self-portrait, and a genre painting.
Bio on artist and extended discussion of "The Water Carriers."
Survey of American artists allied with socialism, communism or the Left and the movements with which they were involved.
Brief description of a group of late 19th-century painters, mostly American impressionists.
Brief bio of early and mid-century painter and illustrator. More a fuller discussion see Hills, Stuart Davis (New York: Abrams, 1995).
Brief Bio of mid-century American painter
Brief bio of Philip Evergood. For longer essays see Hills, under Book Chapters and under articles
Brief survey of the rise of abstract expressionism at the end of World War II