Robert Slifkin
Curriculum Vitae
Department of Art
Reed College
3203 SE Woodstock Blvd.
Portland, OR 97202
503-517-7386
rslifkin@reed.edu
Employment:
Reed College, Assistant Professor of Art and Humanities, 2007 – present.
Education
PhD, History of Art, Yale University, 2007
MA, History of Art, Williams College, 2002.
BA, History, minor Folklore, University of North Carolina, Chapel Hill, 1995.
Fellowships and Awards
Stillman Drake Faculty Development Fellowship, Reed College, 2007, 2008
Henry Luce Foundation/ACLS Dissertation Fellowship, 2006-7
Getty Research Library Travel Grant, Getty Institute, 2006
Philip Lippincott Goodwin Fellowship, Yale University, 2005-6
Robert Lehmann Fellowship for Academic Travel, Yale University, 2005
Herbert Gutmann Fellowship, Yale University, 2003
Judith M. Lennet Fellowship, Williams College, 2001
Emerging Leaders Program, University of North Carolina, 1992
Articles and Chapters in Books
“Butterfly Money: James McNeill Whistler as the Invisible Man” in James McNeill Whistler in Context: Essays from the Whistler Symposium, University of Glasgow, 2003 (Washington: Smithsonian Institution, 2008).
“James Whistler as the Invisible Man: Anti-Aestheticism and Artistic Vision,” Oxford Art Journal, (Spring 2006), 53-75.
“The Allusion on Anxiety: Donald Judd’s Untitled (1969),” Yale University Art Gallery Bulletin (2004), 114-119.
Book and Exhibition Reviews
“Against Indeterminacy,” review of Joshua Shannon, The Disappearance of Objects: New
York Art and the Rise of the Postmodern City and Michael Lobel, James Rosenquist:
Pop Art, Politics, and History in the 1960s, Oxford Art Journal 32 (October 2009), 458-464.
“Modern Mythographer,” review of David Smith, A Centennial Exhibition, Solomon R. Guggenheim Museum, Journal of Modern Craft (Winter 2008), 157-160.
“One More Time with Feeling,” review of Caroline A. Jones, Eyesight Alone: Clement Greenberg’s Modernism and the Bureaucratization of the Senses and Jonathan Harris, Writing Back to Modern Art: After Greenberg, Fried, and Clark, Oxford Art Journal 30 (Spring 2007), 341-345.
“Mirror Man,” review of Jennifer Roberts, Mirror Travels: Robert Smithson and History and Ron Granziani, Robert Smithson and the American Landscape, Art Journal (Spring 2006), 125-29.
“Fast Times,” review of Pamela Lee, Chronophobia: On Time and the Art of the 1960s, Art Journal (Spring 2005), 109-111.
“Dark, Unfathomed Retrospect,” review of Michael Auping et. al., Philip Guston Retrospective, exh. cat. Art Journal (Winter 2004), 105-08.
Exhibition Catalog Contributions
"Studio Gorm's Anxious Utopianism," essay for Call and Response exhibition, The Museum of Contemporary Craft, Portland, OR, June 18 - October 31, 2009.
"Melissa Dyne, Glass," essay for Glass: Melissa Dyne, Museum of Contemporary Craft, Portland, OR, May 29 - August 10, 2008.
Catalog entries for paintings by Homer, Lane, Bierstadt, Eakins, Whittridge, and Civil War Photographs in Life, Liberty and the Pursuit of Happiness, American Art from the Yale University Art Gallery, exh. cat. (New Haven: Yale University Press, 2008).
Catalog entries for Close, Eakins, Heade, Giacometti, Gifford, Guston, and Homer in Art For Yale, exh. cat. (New Haven: Yale University Press, exh. cat. New Haven: Yale University Press, 2007).
Conference Papers
"Fitz Henry Lane’s Compromised Seascapes and the Cartographic Eye of Antebellum American Art and Culture," Grounded Histories: Land, Landscape, and Environment in Early North America, Huntington Library, Los Angeles, CA, 28 May 2010.
"Philip Guston's Modernist Follies," Philip Guston: The Late Work, American Academy, Rome, Italy, 25 May 2010.
"Action Painting Refgured," Abstract Connections, Tate Modern, London, England, 24 April 2010.
"For an Uncool Sixties," College Art Association Annual Meeting, Chicago, IL, 14 February 2010.
“Philip Guston’s Book Paintings,” Décrire l’œuvre d’art, Institut du Monde Anglophone, University of Paris III, Sorbonne Nouvelle, 21 June 2008
“Nauman’s Bound for Moore Failure: Figuring Failure in 1960s Sculpture,” Anglo-American Exchange in Post-War Sculpture 1945-1975, Getty Museum, Los Angeles, CA, 26 April 2008.
“Reading Ruskin/Misreading Turner: Fitz Henry Lane’s Compromised Landscapes,” College Art Association Annual Meeting, Dallas, TX, 23 February 2008.
“Action Painting Refigured,” The New American Art History, Yale University, New Haven, CT, 28 April 2006.
“Donald Judd’s Cold War Monuments,” IFA/Frick Graduate Symposium in the History of Art, New York, NY, 8 April 2006.
“Badness c. 1970: Philip Guston’s Marlborough Paintings and Bob Dylan’s Self-Portrait,” Failure: Ethics and Aesthetics, University of California, Irvine, 3 March 2006.
“Minimal Art and the Common Culture,” Session Co-Chair, College Art Association Annual Meeting, Boston, MA, 25 February 2006.
“Modern Design, Mass Production and Mass Audiences: The Institutionalization of the Eames Chair,” 16th Annual Northwestern University Symposium on the History of Art, Evanston, IL, 30 April 2005
“Bright and Guilty Los Angeles: Penitence and Pentimenti in Richard Diebenkorn’s Ocean Park Series,” College Art Association Annual Meeting, Atlanta, GA, 21 February 2005.
“Minimal Morality: Donald Judd’s Cold War Monuments,” America in the 1960s, Cooperstown, NY, 27 October 2004.
“Purity and Its Discontents: Philip Guston’s Marlborough Show,” Art History Graduate Symposium, City University of New York, New York, NY, 24 October 2003.
“The Trees of Winslow Homer,” Yale University Art Gallery, New Haven, CT, 10 October 2003.
“James Whistler as the Invisible Man: Anti-Aestheticism and Artistic Vision,” Whistler Centenary Conference, Center for Whistler Studies, Glasgow, Scotland, 5 September 2003.
“Purity and Its Discontents: Philip Guston’s Marlborough Show,” Williams College Graduate Symposium, Williamstown, MA, 5 May 2002
“The Price of Play: Restoring Alexander Calder’s ‘Futuristic Toys for Advanced Kids,” 8th Annual