Catherine SOUSSLOFFChercheuse invitée (Avril-Mai 2017)

Biographie

Catherine M. Soussloff (Ph.D. Bryn Mawr College) is Professor of Art History, Visual Art and Theory and Associate at the Peter Wall Institute for Advanced Studies at the University of British Columbia. Her research has explored the historiography, theory, and philosophy of art and visual culture in the European tradition from the Early Modern period (ca. 1400) to the present, including in the related fields of performance, aesthetics, and photography. She has held research fellowships from the National Endowment for the Humanities, the Getty Research Institute, and the Sterling and Francine Clark Art Institute, among others. In 2015 she was appointed as Visiting Lecturer at the Collège de France. She is the author of The Absolute Artist: The Historiography of a Concept (1997), The Subject in Art: Portraiture and the Birth of the Modern (2005), and editor of Jewish Identity in Modern Art History (1999)and more recently Foucault on the arts and letters (2016).

Bibliographie

  • *Michel Foucault and the Pleasure of Painting, University of Minnesota Press, 2017, in press.
  • *“A Proposition for Reenactment: Disco Angola by Stan Douglas,” in The Oxford Handbook of Dance and Reenactment, Ed. Mark Franko, Oxford University Press, 2017, in press.
  • *“Après l’objet théoretique et la pensée en peinture,” in Hubert Damisch, l’art au travail, Eds. Giovanni Careri and Georges Didi-Huberman, Mimésis. 2016, 169-187.
  •  *“Late Works and the Model-Muse,” in Picasso: The Artist and His Muses, Black Dog Press and Vancouver Art Gallery, 2016, 128-151.
  •  *“Art History’s Dilemma: Theories for Time in Contemporary Performance/Media Exhibitions,” Performance Research Journal (PRJ) (2014): 93-100.
  • *“To Begin with the Scrim: Helen Lawrence” in Stan Douglas, Ed. Léon Krempel, Haus der Kunst and Prestel Verlag, 2014, 160-165.
  • *“Fairness and the Visual Arts in Theory and Practice: The Case of Klimt’s Portrait of Adele Bloch-Bauer I,” in Explorations of Fairness: Interdisciplinary Inquiries in Law, Science and the Humanities, Ed. Janis P. Sarra, Carswell, 2013, 155-169.
  • *“Toward a New Visual Studies and Aesthetics: Theorizing the Turns,” in The Handbook of Visual Culture, Eds. Ian Heywood and Barry Sandywell, Berg, 2012, 90-101.
  • *“The New Jewish Visual Studies: A Historiographical Review,” Images 3 (2010): 102-118.
  • “Michel Foucault and the Point of Painting,” Art History 32 (September 2009): 734-754.
  • “The Vita of Leonardo da Vinci in the Du Fresne Edition of 1651,” in Re-Reading Leonardo:
  • The Treatise on Painting across Europe, 1550-1900, Ed. Claire Farago, Ashgate, 2009, 175-196.
  • “Image-Times, Image-Histories, Image-Thinking,” in Given World and Time: Temporalities in Context, Ed. Tyrus Miller, CEU, 2008, 145-70.
  • "Discourse/Figure/Love: The Location of Style in the Early Modern Sources on Leonardo da Vinci," in Leonardo da Vinci and the Ethics of Style, Ed. Claire Farago, University of Manchester Press, 2008, 37-57.

Projet de recherche

Painting for Expressivity (A new book project)

 According to the early twentieth century art historian Heinrich Wölfflin, “painterly paintings” show: “Not the thing, the object, the motif in itself; but the motif in its relations.” As a medium and practice at a distance from the exactitude of the resemblance of what is found in the world (and in this sense often construed as the opposite of photography), painting is that which in the end allows us to see that world in its most human relations. The “expressivity” in painting signifies its meaningfulness for 20th and 21st century society because it transgresses the individual in the here and now, offering a means to envision a future in the most human of terms. Using a historiographical approach—nuanced through both philosophy and art history-- this book hopes to establish the conceptual backbone of the paradigm of painting in culture today.