Greenhill, Jennifer Chercheuse invitée dans le cadre du programme Terra Foundation for american art (février-avril 2014)


Jennifer Greenhill is Associate Professor of Art History, Criticism and Interpretive Theory at the flagship campus of the University of Illinois in Urbana-Champaign. She received her doctorate from Yale University in American art history, after earning her Master's from Williams College. She is a specialist in nineteenth- and early twentieth-century American art and visual culture, focusing on intermedial and intercultural objects ; visual, literary, and theatrical humor, 1830 to the present ; race and the politics of visuality ; and intersections between elite and popular forms of expression. Greenhill's courses investigate these concerns by prioritizing sustained engagement with objects ; by emphasizing the value of cross-disciplinary thinking (examining visual material in relation to literature and other forms of artistic expression, for example) ; and by guiding students to draw on writing in philosophy, literary criticism, and other disciplines as a catalyst for inventive thinking about art. With colleagues at the University of Birmingham in the U.K., Greenhill recently taught a transnational online course on art and literature, a collaboration she will develop further while in France. Her research has been supported by the American Council of Learned Societies, the Luce Foundation for American Art, the Smithsonian American Art Museum, the Wyeth Foundation for American Art, and the National Endowment for the Humanities.


  • Playing It Straight : Art and Humor in the Gilded Age (University of California Press, August 2012).
  • “Humor in cold dead type : performing Artemus Ward's London panorama lecture in print” Word & Image vol. 28, no. 3 (July-September 2012) : 257-72.
  • Troubled Abstraction : Whiteness in Charles Dana Gibson and George Du Maurier,” Art History vol. 34, no. 4 (September 2011) : 732-53 ; and in David Peters Corbett and Sarah Monks, eds., Anglo-American : Art between England and America, 1770-1970 (Oxford : Wiley-Blackwell, 2012), pp. 110-31.
  • “Winslow Homer and the Mechanics of Visual Deadpan,” Art History vol. 32, no. 2 (April 2009) : 351-86.
  • “Illustrating the Shadow of Doubt : Henry James, Blindness, and ‘The Real Thing'” in Catriona MacLeod, Véronique Plesch, and Charlotte Schoell-Glass, eds., Elective Affinities : Testing Word and Image Relationships (Word & Image Interactions 6) (Amsterdam and New York : Editions Rodopi, 2009), pp. 261-80.
  • “The View from Outside : Rockwell and Race in 1950,” American Art, vol. 20, no. 2 (Summer 2007) : 70-95.
  • “Playing the Fool : David Claypoole Johnston and the Menial Labor of Caricature,” American Art, vol. 17, no. 3 (Fall 2003), pp. 32-51.

Projet de recherche

During her tenure as Visiting Professor at INHA, Jennifer Greenhill will conduct research for her book project, provisionally titled Smart Pictures : Engaging Popular Illustration, 1900-1950. This study examines how « art » can register in diverse sites, such as the pages of a magazine, where it shapes both public experience and individual subjectivities. Getting around reductive taste concepts, Greenhill argues that commercial pictures require fine-grained analysis as inherently composite objects, produced at the intersection of media and according to the demands of multiple parties—a framework indexed visually in the works she explores. By focusing specifically on the haptic and conceptual expectations of these illustrations, the book probes the affective potential of mass-market images, which were, by necessity, invested in developing complex, multisensorial strategies of viewer engagement. While in Paris, Greenhill will consult French popular journals, considering their mechanics in relation to the American journals of her study, adding international dimension to her analyses. In addition, Professor Greenhill will conduct editorial work for the Blackwell Companion to American Art, which he is co-editing with John Davis and Jason LaFountain, and revise an article manuscript entitled, « Maxfield Parrishs's Creative Machinery for Transport. »