Hill, Jason E. Boursier postdoctoral, programme Terra Foundation for american art (septembne 2012- été 2013)

Biographie

Jason E. Hill est un historien de la culture Américaine du XXe siècle. Il a obtenu son doctorat et un certificat d'Etudes Visuelles à l'Université de Southern California à Los Angeles en 2011. Ses recherches sont soutenues par la Luce Foundation/ALCS, la Terra Foundation, le Smithsonian American Art Museum, la Swann Foundation/Library of Congress et le Center for the Advanced Study of the Visual Arts. Il a écit des essais pour Études Photographiques, X-TRA, Art Lies et Photography and Culture.

Bibliographie

• “Book Review : Engaged Observers : Documentary Photography since the Sixties, by Brett Abbott,” Photography and Culture, à paraître en 2011
• “De l'efficacité de l'artifice : PM, radiophoto et discours journalistique sur l'objectivité photographique/ On the Efficacy of Artifice : PM, Radiophoto, and the Journalistic Discourse of Photographic Objectivity,” Études Photographiques 26 (Novembre 2010)
• “The Camera and the ‘Physiognomical Auto-da-fé' : Photography, History, and Race in Two Recent Works by Ken Gonzales-Day,” X-tra 11.3 (Printemps 2009) - “On the Afterlife of Not Getting Along”, co-édité avec Aram Moshayedi, Art Lies 56 (hiver 2007)

Recherche

Pendant son séjour en tant que boursier postdoctoral de la Terra Foundation / INHA pour l'Art Américain, Jason E. Hill développera trois projets de recherche principaux. Le premier sera un manuscrit provenant de sa recherche doctorale sur l'art et la photographie du tabloïd PM pendant les années 1940 à New York. Ce projet reconsidérera la position du concept et de la rhétorique sur l'art et l'artifice au sein du journal, plus spécifiquement dans les reportages en croquis du Museum of Modern Art, la ressucitation de l'artiste dans ses pages et le déploiement du travail journalistique du photographe Weegee et du peintre et caricaturiste Ad Reinhardt, dans sa démarche pour démontrer que le travail journalistique ne peut pas avoir d'ambigüité et pourtant est une question dépourvue d'art. Le deuxième projet est de développer aux cotés de sa co-editrice Vanessa R. Schwartz, d'une collection d'essais traitant des thèmes de l'art, l'histoire et la culture visuelle du photojournalisme et du journalisme illustré plus en général, d'un point de vue interdisciplinaire et international. Enfin, il devéloppera la recherche pour un étude sur la position central de l'impulsion du photojournalisme dans la pratique artistique et photographique américaine depuis ses premières manifestations jusqu'à nos jours. A l'INHA il organisera aussi deux colloques et au moins une exposition sur ces thèmes.

Biography

Jason E. Hill is a historian of twentieth-century American art and visual culture. He completed his Ph.D. in Art History and earned a certificate in Visual Studies at the University of Southern California in Los Angeles in 2011. Hill's research has been supported by the Luce Foundation/ACLS, the Terra Foundation, the Smithsonian American Art Museum, the Swann Foundation/Library of Congress, and the Center for the Advanced Study of the Visual Arts. He has written essays and reviews for Études Photographiques, X-TRA, Art Lies, and Photography and Culture.

Bibliography

• “Book Review : Engaged Observers : Documentary Photography since the Sixties, by Brett Abbott,” Photography and Culture, forthcoming in 2011
• “De l'efficacité de l'artifice : PM, radiophoto et discours journalistique sur l'objectivité photographique/ On the Efficacy of Artifice : PM, Radiophoto, and the Journalistic Discourse of Photographic Objectivity,” Études Photographiques 26 (November 2010)
• “The Camera and the ‘Physiognomical Auto-da-fé' : Photography, History, and Race in Two Recent Works by Ken Gonzales-Day,” X-tra 11.3 (Spring 2009) - “On the Afterlife of Not Getting Along”, co-authored with Aram Moshayedi, Art Lies 56 (Winter 2007)

Research

During his tenure as the Terra Foundation / INHA Postdoctoral Teaching Fellow in American Art, Jason E. Hill will develop three principal research projects. The first of these will be a book manuscript, stemming from his doctoral research, on the art and photography of the 1940s New York City tabloid newspaper PM. This project will consider this tabloid's mobilization of the concept and rhetoric of art and artifice in its reporting, especially through its 1940 exhibition of sketch reporting at the Museum of Modern Art, its critical resuscitation of the artist's report in its pages, and its deployment of the journalistic work of the photographer Weegee and the abstract painter and cartoonist Ad Reinhardt, in its effort to complicate the widely held notion that the reporting of the news is an unambiguously objective, and therefore artless, enterprise. The second project to be undertaken will be the development, along with his co-editor Vanessa R. Schwartz, of a collection of essays treating the art, history, and visual culture of photojournalism, and pictorial journalism more generally, from an interdisciplinary and transnational perspective. Lastly, Hill will begin research and development for a study exploring the centrality of the journalistic impulse to the conduct of American art and photography from its earliest manifestations to the present. At the INHA Hill will also organize two major symposia and at least one exhibition related to these themes.