Contributors

Read, Richard; Haltman, Kenneth

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Contributors

Richard Read (Editor), Kenneth Haltman (Editor)

Description: Colonization, Wilderness, and Spaces Between: Nineteenth-Century Landscape Painting...

Colonization, Wilderness, and Spaces Between: Nineteenth-Century Landscape Painting in Australia and the United States

Contributors

Author

Richard Read (Editor), Kenneth Haltman (Editor)

PublisherTerra Foundation for American Art

Stable URL: https://aaeportal.com/?id=-22265

Contributors

David Peters Corbett
David Peters Corbett is Professor of American Art and Director of the Centre for American Art at the Courtauld Institute of Art. He has previously been Professor of Art History and American Studies at the University of East Anglia and Professor of History of Art at the University of York. Publications include An American Experiment: George Bellows and the Ashcan Painters (2011), and Anglo-American: Artistic Relations between Britain and the US from Colonial Times to the Present (2012, co-edited). Between 2007 and 2012, he was editor of Art History.

Rachael Z. DeLue
Rachael Z. DeLue is Associate Professor of Art History at Princeton University. She specializes in the history of American art and visual culture, with particular focus on intersections among art, science, and the history and theory of knowledge. She is currently at work on a study of Charles Darwin’s diagram of evolution in On the Origin of Species as well as a book about impossible images. She serves as the editor-in-chief of the Terra Foundation Essays as well as the Editor of Picturing (2016), the first volume in the series. Publications include George Inness and the Science of Landscape (2004), Landscape Theory (2008, co-edited with James Elkins), and Arthur Dove: Always Connect (2016).

Kenneth Haltman
Kenneth Haltman is H. Russell Pitman Professor of Art History at the University of Oklahoma. He has published critical translations of works by French phenomenologist Gaston Bachelard and scholarly essays on the history of pictorial representation in the United States. Publications include American Artifacts: Essays in Material Culture (2000, co-edited with Jules David Prown); Looking Close and Seeing Far: Samuel Seymour, Titian Ramsay Peale, and the Art of the Long Expedition, 1818–1823 (2008); Titian Peale’s Butterflies of North America (2015); and a critical edition and translation of L’évolution du goût aux États-Unis, d’aprés l’histoire des collections by Rene Brimo, first published in Paris in 1938 as The Evolution of Taste in American Collecting (2016). He is currently completing a volume of essays, Artists and Hunters: Figures of Predatory Looking in Nineteenth-Century American Art.

David Hansen
David Hansen has worked as a regional gallery director, a state museum curator, and an art auction house researcher and specialist. In 2014, he was appointed Associate Professor at the Centre for Art History and Art Theory at the Australian National University. With over 30 years of professional experience in the visual arts and museum sectors, Hansen has curated more than 80 exhibitions, and his writings on art have been widely published. He has a special interest in colonial art, particularly in the work of the Anglo-colonial Picturesque landscape painter John Glover and in early settler representations of Aboriginal Australians.

Elizabeth Hutchinson
Elizabeth Hutchinson is Associate Professor of North American Art History at Barnard College/Columbia University in New York City. She is the author of The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890–1915 (2009), and a book in progress on photographer Eadweard Muybridge’s photographs of the Pacific Coast of North America that examines pictures made for the United States government from a perspective that links the critical commitments of Indigenous studies and ecocriticism. She has also produced a number of shorter studies of images of and by Native Americans in what Mary Louise Pratt calls “the contact zone,” working to give legibility to the critical work done by Indigenous artists to assert tribal sovereignty within the historical frameworks of intercultural diplomacy. Professor Hutchinson’s work has been supported by several institutions, including the National Endowment for the Humanities and the American Council for Learned Societies.

Alan Michelson
Alan Michelson is a New York–based Mohawk artist and member of the Six Nations of Grand River. His work addresses place and history in multilayered, multimedia installations. He studied at Columbia University and earned his BFA from Tufts University/School of the Museum of Fine Arts, Boston. Michelson has exhibited and lectured widely, and his work was featured in the exhibition The Western: An Epic in Art and Film at the Denver Art Museum. International exhibitions include the fifth Moscow Biennale (2013), Sakahàn: International Indigenous Art (2013) at the National Gallery of Canada, and the 18th Biennale of Sydney, Australia (2012). He was Macgeorge Fellow at the University of Melbourne in 2018 and has been the recipient of several awards, including a National Endowment for the Arts Visual Artists Fellowship, Native Arts & Cultures Foundation Artist Fellowship, and Eiteljorg Contemporary Art Fellowship. His work is in the permanent collections of the National Gallery of Canada and the Smithsonian National Museum of the American Indian, Washington, DC.

Christopher Pease
Christopher Pease has established himself as a prominent Western Australian visual artist since transitioning from a background in graphic design and art education over the past 17 years. Since winning the Painting Prize at the Telstra National Aboriginal & Torres Strait Islander Art Awards in 2002, Pease has continued to evolve and mature an individual style that draws significantly on his Indigenous background and his interest in the complex intertwined history of Australia since the arrival of Europeans. In particular, his work focuses on the interpretation of land and systems of belief relating to land (scientific, spiritual, and cultural). His work often reveals the propaganda, mythology, and manipulation of the landscape through art by juxtaposing scientific, cultural, or other symbolic elements against the work. His work has focused on the Minang area around the towns of Albany and Denmark in Western Australia, and the dark history of drawings made by Robert Dale and subsequent prints by Robert Havell.

Ruth Pullin
Dr. Ruth Pullin is an independent art historian and curator, a Eugene von Guérard specialist, and continuing fellow at the State Library of Victoria, Melbourne. On the basis of her doctoral research, she curated, with co-curator Michael Varcoe-Cocks, the National Gallery of Victoria’s 2011 major touring exhibition, Eugene von Guérard: Nature Revealed, and she is the author and commissioning editor of the book of the same title. She has held fellowships at the State Library of New South Wales (2009) and the State Library of Victoria (2012). Her research has been published in the Melbourne Art Journal, Journal of New Zealand Art History, and La Trobe Library Journal (2014). Additional projects include papers presented at, and published by, the Geological Society, London (2016), and the book, The Artist as Traveller: The Sketchbooks of Eugene von Guérard (2018).

Richard Read
Richard Read is Emeritus Professor of Art History and Senior Honorary Research Fellow at the University of Western Australia. He has published in major journals on the relationship between literature and the visual arts; nineteenth- and twentieth-century European, American, and Australian art history; contemporary film; and complex images in global contexts. His book Art and Its Discontents: The Early Life of Adrian Stokes (2003) was the winner of a national book prize. An ARC Discovery Grant funded his extensive research project on “The Reversed Canvas in Western Art” and sections have appeared in several major journals. In recent years, he has taught and lectured at the University of Bristol, the National Gallery of Victoria, the National Gallery of Art in Washington, DC, the University of Aberystwyth, Tate Britain, the University of East Anglia, King’s College, Cambridge University, the Institute for Advanced Studies at the University of Durham; Yale Centre for British Art, New Haven; The British School at Rome; and the NES Artists’ Residency, Skagastrond, Iceland. He convened the symposium and teaching units from which this anthology derives and helped to conceive the exhibition project with Peter John Brownlee.

Catherine Speck
Catherine Speck is Professor of Art History at the University of Adelaide, Fellow of the Australian Academy of Humanities, and coordinator of postgraduate programs in art history and curatorial and museum studies co-taught with the Art Gallery of South Australia. Publications include Painting Ghosts: Australian Women Artists in Wartime (2004); Heysen to Heysen: Selected Letters of Hans Heysen and Nora Heysen (2011); Beyond the Battlefield: Women Artists of the Two World Wars (2014); “Forging Culture: Australian Art in the Nineteenth Century,” in A Companion to Nineteenth Century Art, edited by Michelle Facos (2016); and Australian Art Exhibitions: A New Story (2018, with Joanna Mendelssohn, Catherine De Lorenzo, and Alison Inglis).

Peter John Brownlee
Peter John Brownlee is curator at the Terra Foundation for American Art. His recent projects include the Terra Collection Initiative exhibitions Refiguring Twentieth-Century American Art, co-organized with the Pinacoteca de São Paulo (2020–21); Atelier 17: Modern Printmaking in the Americas, co-organized with the Museu de Arte Contemporánea de Universidade de São Paulo (2019); and Pathways to Modernism: American Art 1865–1945, co-organized with the Art Institute of Chicago and the Shanghai Museum (2018). Publications include The Commerce of Vision: Optical Culture and Perception in Antebellum America (2018); “Landscape Painting in the Americas: Charles Sheeler and Tarsila do Amaral,” American Art (Summer 2017); and as contributing editor, Samuel F. B. Morse’s “Gallery of the Louvre” and the Art of Invention (2014).

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