CURRICULUM VITAE ERIC M. ROSENBERG ... - Tufts University

CURRICULUM VITAE
ERIC M. ROSENBERG
Associate Professor of Art History
Tufts University
11 Talbot Ave.
Medford, MA 02155
617-627-2425/eric.rosenberg@tufts.edu
EDUCATION: BA with High Honors, University of Michigan, Ann Arbor, 1979;
MA, Department of Fine Arts, Harvard University, 1981; Ph.D, Department
of Fine Arts, Harvard University, March 1992.
EMPLOYMENT: Assistant Professor, Department of Art and Art History, Tufts
University, 1990-1996; Associate Professor with Tenure, Department of Art
and Art History, Tufts University, 1996-
ADMINISTRATIVE POSITIONS:
Chair, Department of Art and Art History, September 2002-August 2006.
Acting Chair, Department of Art and Art History, Tufts University,
2000-2001.
Director, American Studies Program, Tufts University, 1999-2000.
Co-Director, Center for Interdisciplinary Studies, Tufts University,1997-1998.
Coordinator, Combined BA/BFA 5-Yr. Program, Tufts University, 1990-1995.

PUBLICATIONS Completed or Forthcoming (the latter indicated as such)
“Forming the Global,” Invited article for THIRD TEXT ASIA, Forthcoming Spring
2012; delivered February 2011.
“The Impossibility of Painting: The Satiric Inevitability of John Singleton Copley’s Boy
with a Squirrel,” Invited chapter for Elizabeth Mansfield and Kelly Malone, Editors,
SEEING SATIRE IN THE EIGHTEENTH CENTURY, Anthology, to be published by
Studies on Voltaire and the Eighteenth Century, University of Oxford, In Press--
Forthcoming.
“Recent Publications in American Art,” Invited review for journal AMERICAN
LITERATURE. Forthcoming June 2013.
TRAUMA AND DOCUMENTARY PHOTOGRAPHY OF THE FSA, Co-Authored
book, with Sara Blair, in University of California Press series, DEFINING MOMENTS
IN AMERICAN PHOTOGRAPHY, Anthony Lee, Editor, Published March 2012.
“Dust on the Needle: Moyra Davey’s Phono/Photographics,” Essay in MOYRA DAVEY
SPEAKER RECEIVER, Exhibition Catalogue, Kunsthalle, Basel, June 2010.
“J. Frank Currier, Munich and the Anxious State of American Art, ca. 1880,” Invited
Chapter in book, AMERICAN ARTISTS IN MUNICH, Christian Fuhrmeister, Veerle
Thielemans, Hubertus Kohle, eds., Deutscher KunstVerlag Press, 2009. Reviewed in
German Journal Sehepunkte, Fall 2010. My chapter singled out with one other as
“exemplary.”
“Photography Is Over, If You Want It,” Invited Chapter in THE MEANING OF
PHOTOGRAPHY, Robin Kelsey and Blake Stimson, eds, Getty/Clark Art Institute/Yale
University Press, 2008.
“The Totality of Form: SJ Freedberg’s Criticism and Clement Greenberg’s History,”
Refereed Chapter in Elizabeth Mansfield, editor, MAKING ART HISTORY: THE
TWENTIETH CENTURY, Routledge, 2007.
“Response: Romancing the Modern: Nemerov, Wyeth, and the Limits of American Art
History,” Invited Article for Interventions series, THE ART BULLETIN, March 2006.
TRAUMA AND VISUALITY IN MODERNITY, Lisa Saltzman and Eric Rosenberg,
eds.; co- authors, “Introduction” and “Epilogue,” University Press of New England,
(Dartmouth College Press,) 2006.
“Walker Evans’ Depression and the Trauma of Photography,” Chapter in TRAUMA
AND VISUALITY IN MODERNITY, Lisa Saltzman and Eric Rosenberg, eds.,
University Press of New England, 2006.
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“Focus Review: Terry Winters at the Addison,” Invited essay, ARTFORUM, February
2005.
“America’s Thing,” Review Article, ART HISTORY, February 2004.
“Recent Publications in Nineteenth-Century American Art,” Review Article, THE ART
BULLETIN, September 2003.
“Size Matters: Eva Hesse and Barnett Newman,” Review Article, ART HISTORY,
January 2003.
"A Preponderance of Practical Problems: Discourse and the History of Art
Institutionalized in the United States Between 1876 and 1888," Chapter in ART
HISTORY AND ITS INSTITUTIONS, Elizabeth Mansfield, Editor, Routledge, 2002.
"The Impress of Truth: J. Frank Currier's Pastels in the Fogg Art Museum," Co-Authored
with Miriam Stewart, Chapter in DEAR PRINT FAN: A FESTSCHRIFT FOR
MARJORIE B. COHN, Harvard University Art Museums, January 2002.
"Bursting at the Seams: Architecture and the Films of the Beatles,"
Chapter in ARCHITECTURE AND FILM, Mark Lamster, Editor, Princeton
Architectural Press, 2000.
"Meaning the Modern," Review Article in ART HISTORY, June 2000.
FRIEDEL DZUBAS, CRITICAL PAINTING, Co-author, with Lisa Saltzman and Tim
McIlreavy, Exhibition Catalogue, Tufts University Art Gallery, 1998.
"So Much Is There And So Much Is Lacking: M.G. Van Rensselaer's 'Wanted: A
History of Architecture,' And the Politics of History," in APPENDX,
Harvard University Graduate School of Design, Volume 3, 1996.
"Art is History, No?" Review Article, in ART HISTORY, September 1995.
"A Horrible, Powerful, Yet Fascinating Picture: Thomas Eakins' 'The Gross
Clinic' as History Painting," Chapter in Patricia Burnham and Lucretia
Giese, eds., REDEFINING AMERICAN HISTORY PAINTING, Cambridge University
Press, 1995.
Review of David Lubin's PICTURING A NATION, in THE ART BULLETIN,
September
1995.
"Albert Pinkham Ryder: A Kinder, Gentler Painter," Review Article, in ART
HISTORY, March 1991.
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THE HARVEST OF 1830: THE BARBIZON LEGACY, A GUIDE TO THE
EXHIBITION, Co-author, with Miriam Stewart, Curatorial Associate, Drawings
Department, Fogg Art Museum, Harvard University Art Museums, 1990.
“Michael Fried’s Realism, Writing, Disfiguration,” Review, in The Burlington Magazine,
December 1987.
“Recent Publications in American Art,” Review Article, The Burlington Magazine,
January 1987.
WINSLOW HOMER AND JAMES WHISTLER: THE AMERICAN ARTIST AT
HOME AND ABROAD, Exhibition Catalogue, Co-author, with Miriam Stewart,
Curatorial Associate, Drawings Department, Fogg Art Museum, Harvard University,
Exhibition Catalogue, Fitchburg Art Museum, 1983.
SYMPOSIUM PAPERS/GUEST LECTURES/CONFERENCES:
‘Richard Diebenkorn, Between Museum, Market and Academy,” Accepted Paper for
Association of Historians of American Art Annual Symposium, Boston, October 12-13,
2012, Forthcoming.
“Art History and the Traffic in Discourse”, Invited Symposium ‘Think-Piece,’ Global
Modernities Working Group Interdisciplinary Conference, Rice University, May 18-20,
2012, Forthcoming.
“Modernity, Slavery, Traffic,” Invited Symposium Paper, Global Modernities Working
Group Interdisciplinary Conference, Rice University, May 18-20, 2012, Forthcoming.
“Ageism: Art and Rock,” Invited Symposium Paper for Art and Rock Conference,
Harvard University, April 20-21, 2012. Forthcoming.
“The White City Gone Grey: Alfred Stieglitz’ The Terminal, New York City and the
Search for Columbus, 1892-3,” Guest Lecture, Department of Art History, Sophia
University, Tokyo, Japan, December 2011.
“Forming the Global,” Introductory Paper for Tufts University Department of Art and Art
History Colloquium Disputing the Global: Art History’s Futures, Tufts University,
Medford, MA, October 29, 2010.
“Accident’s Trauma: Intention’s Loss in the Face of the Real,” Invited Paper for
Symposium ON ACCIDENT, School of Architecture, Princeton University, December
2009.
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“Greenberg’s Diebenkorn: Abstract Expressionism’s ‘Development’ and the Medium as
Meme,” Invited paper for symposium, CLEMENT GREENBERG AT 100: LOOKING
BACK TO MODERN ART, Harvard University, April 2009.
“Redirecting the Hudson River: WJ Stillman’s Version of the National for American
Painting in 1851,” Invited Seminar at behest of Clark Professorship, Clark Art Institute,
Williamstown, MA, October 2008.
“Dust on the Needle: Moyra Davey’s Phono/Photographics,” Invited Symposium paper,
MODERN/AGE Symposium, Harvard University Art Museums, April 5, 2008.
“J. Frank Currier, Munich and the Anxious State of American Art, ca. 1880,” Submitted
and accepted conference paper, AMERICAN ARTISTS IN MUNICH, Zentral Institute
Fur Kunstgeschichte and Terra Foundation of American Art, Munich, Germany October
9-12, 2007.
“Photography, Trauma, Depression,” Invited Guest Lecture, Graduate Student Series,
Department of Art History, Boston University, February 2007.
“What Abstract Expressionism Should Have Been: Richard Diebenkorn’s Man and
Woman Seated and Modern Painting’s Claim to Wholeness,” American Art Lecture
Series, Palmer Museum of Art/Department of the History of Art, Pennsylvania State
University, September 2006.
“A Response,” Paper in College Art Association Session THE NEED FOR
CONNOISSEURSHIP IN AMERICAN ART, College Art Association Meetings,
Boston, February 2006.
“Turner’s Slave Ship as an American Picture at the End of Reconstruction: 1872-1876,”
Invited Guest Lecture in “American Pictures” Series, CV Starr Center for the American
Experience/Department of Art, Washington College, November 2005.
“The Anxiety of Color: Painting in the United States After the Civil War,” Invited paper
in Symposium OUR COLORFUL WORLD, Co-Sponsored by L’Oreal Foundation for
Research in Art and Science and Harvard University, July 2005.
“Witnessing’s End: Stealing Horror’s Picture in the Warsaw Ghetto,” Invited Guest
Lecture in Series “The Visual Culture of the Holocaust,” Center for Visual Culture, Bryn
Mawr College, October 2003.
"The Crass and the Pure: Walker Evans' Depression and the Trauma of
Photography," Center for the Humanities, Visual Representation and Cultural History
Lecture Series, Harvard University, March 2002.
"Painting's Deliberation: Generosity in the work of Jon Imber," Invited Symposium
Paper, Boston Psychoanalytic Institute and Society, November 2001.
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"Shellburne Thurber's Analysts' Rooms," Invited Symposium Paper,
Boston Psychoanalytic Institute and Society, December 2000.
"Walker Evans' Depression and the Trauma of Photography," Invited Paper,
San Francisco Museum of Modern Art Symposium WALKER EVANS ART AND
DOCUMENT, June 2000.
"Painting's House Divided: Fitz Hugh Lane and the Civil War," Invited
Guest Lecture, Department of Art History and American Studies Program, Emory
University, April 2000.
"Richard Diebenkorn's Berkeley: Residual Culture and Painting After
Painting," Invited Guest Lecture, Department of the History of Art, The
University of Michigan, March 2000.
"Mary Cassatt's 'The Map': Gendering Location and Dislocation in 1890,"
Invited paper in Symposium on Mary Cassatt, Wellesley College and the
Museum of Fine Arts, Boston, March 1999.
"Ellsworth Kelly's Early French Critical Reception," Invited Paper in
Symposium on Ellsworth Kelly's Early Work, Harvard University Art Museums,
February 1999.
"Diebenkorn's Berkeley Abstractions," Invited Graduate Seminar, Department
of Fine Arts, University of British Columbia, January 1999.
"Painting Now: The Possibility of Painting at the Millennium," Invited
Paper in Symposium, ABSTRACT MATTERS, Emily Carr Institute of Art and Design,
Vancouver, January 1999.
"Assimilation's Terror: Walker Evans Depression and the Trauma of
Photography," Invited Guest Lecture in annual Joan Carlisle Irving Lecture
Series, Department of Fine Arts, University of British Columbia, January
1999.
"American Landscapes in the Museum of the Rhode Island School of Design, Invited
Guest Lecture for Department of the History of Art, Brown University, November 1998.
"The Unconscionable Processes of Modernism: Roger Fry and Albert
Pinkham Ryder in 1908," Invited Guest Lecture, Department of Art,
Stanford University, April 1998.
"Walker Evans, The Depression, and The Trauma of Photography," Paper in
Panel on Trauma and Visual Representation in the 20th Century," College
Art Association Annual Meeting, Toronto, February 1998.
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"Selling the Luminists," Invited Paper, Panel on Scholarship and the
Market for American Art, Association of Historians of American Art Annual
Meeting, Toronto, February 1998.
"Ryder, Hawthorne and James," Invited Guest Lecture, Department of the
History of Art, Boston University, February 1997.
"Who Is A Colorist?: Ryder, Homer and Currier, in the Early 1880s,"
Invited Guest Lecture, Department of Art, George Washington University, October
1996.
"Painting in Late-19th-Century America," and "Turner's 'Slave
Ship' in Late-19th-Century America," Self-Chaired Two-Part Session for
College Art Association Annual Meeting, Boston, February 1996.
"Turn of the Century American Modernisms," Self-Chaired Session for
American Studies Association Annual Meeting, Pittsburgh, November 1995.
"Patchwork and Chaos: Colorist Painting, Communism and Criticism in New
York in 1878," Invited Paper for Session at American Society for
Aesthetics Annual Meeting, St. Louis, November 1995.
"Mary Cassatt's 'The Map': Gendering Location and Dislocation in 1890,"
Invited Guest Lecture in McIntyre Department of Art Lecture Series,
University of Virginia, September 1995.
"A Big Smear at the Roadside Rest: John Steuart Curry's 'Wisconsin
Landscape' in 1942," Invited Paper in Colloquium series on Visual and
Cultural Representations, Center for Literary and Cultural Studies,
Harvard University, October 1994.
"Ryder, Fry, and Berenson in 1908," Paper for Session entitled "Landscape and the
Politics (or Not) of Representation, College Art Association
Annual Meeting, Seattle, February 1993.
Discussant, Session entitled "Walt Whitman and American Art," American
Studies Association Annual Meeting, Boston, November 1992.
Discussant, Session entitled "A Social History of American Art to 1914,"
College Art Association Annual Meeting, Washington, D.C., February 1991.
"Eakins, Ryder and American History Painting," paper in Session entitled
"History Painting in America," College Art Associate Annual Meeting, New
York 1990.
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EXHIBITIONS
Co-Curator, (with Miriam Stewart, Drawings Dept., Harvard University Art Museums,)
The Harvest of 1830: the Barbizon Legacy, Harvard University Art Museums, Fall 1990.
Co-Curator, (with Miriam Stewart, Drawings Dept., Harvard University Art Museums,)
Homer and Whistler: The American Artist at Home and Abroad, Fitchburg Art Museum,
Spring 1983.
TEACHING:
Tufts University:
Lecture Courses and Seminars in Following Areas:
Nineteenth and Twentieth Century American art.
Current Theory and Practice in Art History.
Twentieth Century European Phenomena in Art History.
Contemporary Art.
Introduction to American Studies
Advanced Undergraduate Seminar in American Studies
COMMITTEES:
Arts, Sciences and Engineering Tenure and Promotion Committee, Tufts University,
2008-11.
Dept. Member, Tenure and Promotion Subcommittee for Adriana Zavala’s Application
for Tenure and Promotion in the Tufts University Department of Art and Art History, Fall
2007.
Chair, Search Committee, Contemporary Position, Art and Art History, Tufts University,
2005-06.
Chair, Search Committee, African Position, Art and Art History, Tufts University, 2003-
04.
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Chair, Search Committee, African and/or African-American Position, Art and Art
History, Tufts University, 2002-03.
Search Committee, Tufts University Gallery Director’s Position, 2002-03.
Steering Committee, Tufts Institute for the Environment, February 2002-June 2003.
Senior Department Representative, Tenure and Promotion Subcommittee, Department of
Art and Art History Case, Fall 2002.
Chair, Search Committee, Modern and Contemporary Latin American Position, Art and
Art History, Tufts University, 2000-01.
Senior Department Representative, Tenure and Promotion Subcommittee for Department
of Art and Art History Case, Fall 2000.
Tufts University Tenure and Promotion Committee, 2001-2002.
Tufts University Budget and Priorities Committee, 1995-2000.
Tufts University Art Collections Committee, 1993-1998.
Co-Chair, Search Committee, Window of Opportunity Hire, Art and Art History, Tufts
University, 1995-6.
Admissions Committee, BFA Degree Program, Tufts University/School of the Museum
of Fine Arts Boston, 1990-1995.
Numerous Masters of Fine Arts Thesis Exhibition Defense Committees, Art and Art
History, Tufts University, 1990-.
Numerous Masters of Art History Thesis and Qualifying Papers Committees, Art and Art
History, Tufts University, 1990-.
ADDITIONAL PROFESSIONAL ACTIVITIES:
Anonymous Reviewer for Manuscripts for Cambridge University Press,
Blackwell Publishers, University of California Press, Pennsylvania State University
Press, Ashgate Publishers, The Art Bulletin and Criticism.
External Reviewer for Grant Applications, Social Sciences and Humanities Research
Council of Canada, Fall 2007; Winter 2009.
Board of Referees, College Art Association Development Fund Grants, 1996.
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Invited Tenure and/or Promotion Review Outside Letter Writer for Cases at Wellesley
College, Colgate University, National University Singapore, University of Notre Dame,
Bryn Mawr College, University of California, Santa Barbara, Whitman College, Institute
of Fine Arts, New York University and Harvard University.
Outside Reader/Member on Dissertation Committees at Harvard
University, Boston University, Cornell University, Massachusetts Institute of
Technology, Brown University.
PROJECTS IN PROGRESS
ALL WITHIN REACH OF HUMAN SENSE: MOMENTS IN A HISTORY OF ART
IN AMERICA, 1491-1942, Book manuscript, in preparation, to be shopped to publishers
late 2010/EARLY 2011.
WRITING RYDER: CRITICAL DISCOURSE AND AMERICAN COLORIST
PAINTING, 1873-1908, Book long contracted to Cambridge University Press.
Forthcoming.
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