Education Doctor of Philosophy History of Art, Yale University, 1992 Master of Philosophy



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Alexander Nemerov
W: 650-725-8053

C: 203-907-8389

anemerov@stanford.edu
Education

Doctor of Philosophy History of Art, Yale University, 1992

Master of Philosophy History of Art, Yale University, 1987

Bachelor of Arts University of Vermont, 1985

Phi Beta Kappa, Cum Laude

Art History and English

CURRENT AND PREVIOUS POSITIONS
Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities, Department of Art and Art History, Stanford University, 2012-

Chair, Department of the History of Art, Yale University, 2009-12

Vincent Scully Professor, Department of the History of Art, Yale University, 2010-12

Professor, Department of the History of Art, Yale University, 2001-2010

Professor, Department of Art and Art History, Stanford University, 2000

Assistant Professor, Department of Art and Art History, Stanford University, 1995-2000

Visiting Professor, Department of Art and Art History, Stanford University, 1992-1995
BOARD MEMBERSHIP
Solomon R. Guggenheim Foundation, 2013-


PUBLICATIONS: BOOKS



Silent Dialogues: Diane Arbus and Howard Nemerov (San Francisco: Fraenkel Gallery, 2015)
Wartime Kiss (Princeton University Press, 2013)
Acting in the Night: Macbeth and the Places of the Civil War (University of California Press, 2010)

*Winner of a Choice Outstanding Academic Book Award, 2011


Icons of Grief: Val Lewton’s Home Front Pictures (University of

California Press, 2005)



Reviews:

New York Review of Books (March 9, 2006): 32-34

Bookforum 12 (October-November 2005): 46

Scope 8 (June 2007)

Screening the Past 20 (December 2006)

Senses of Cinema 41 (October-December 2006)

Film Quarterly 60 (Winter 2006-07): 62-63

Historical Journal of Film Radio and Television 27

(August 2007): 443-44



Journal of American History 93 (June 2006)

Film and History 36 (2006): 82
The Body of Raphaelle Peale: Still Life and Selfhood, 1812-1824 (University of California Press, 2001)

  • Recipient of a Millard Meiss Publication Fund Grant, 1999


Frederic Remington and Turn-of-the-Century America (Yale University Press, 1995)

  • Winner of a Choice Outstanding Academic Book Award, 1996

PUBLICATIONS: SINGLE-AUTHORED EXHIBITION CATALOGUES



To Make a World: George Ault and 1940s America (Smithsonian

American Art Museum, in association with Yale University Press,

2011)
Frederic Remington and the American Civil War: A Ghost Story

(Stockbridge, Mass.: Norman Rockwell Museum, 2006)


Mammoth Scale: The Anatomical Sculptures of William Rush (Philadelphia: Wistar Institute, 2002)

EXHIBITIONS CURATED

To Make a World: George Ault and 1940s America


Smithsonian American Art Museum, Washington, D.C.

March-September 2011; Nelson-Atkins Museum of Art, Kansas City,

October 2011-January 2012; Georgia Museum of Art, Athens, Georgia,

February-April 2012


Frederic Remington and the American Civil War: A Ghost Story
Norman Rockwell Museum, Stockbridge, Massachusetts, 2006




Mammoth Scale: The Anatomical Sculptures of William Rush


Wistar Institute, Philadelphia, Pennsylvania, 2002-2003

PUBLICATIONS: ARTICLES, ESSAYS

“Winslow Homer’s Dream,” in Night Vision: Nocturnes in American Art, 1860-1960, ed. Joachim Homann (New York: Delmonico, 2015), 151-55


“Lawrence’s Plenty,” in Promised Land: The Art of Jacob Lawrence (Stanford, California: Cantor Arts Center, 2015), 40-44
“Flag Raising, Iwo Jima, 1945,” in Getting the Picture: The Visual Culture of the News, ed. Jason E. Hill and Vanessa R. Schwartz (London: Bloomsbury, 2015), 69-72
“Thomas Cole’s Hat; or, what is it to be an artist?” Antiques (November/December 2014): 102-09
The New and the Never-Known,” in Untitled: The Art of James Castle

(Washington, D.C.: Smithsonian American Art Museum, 2014): 12-15
Magic Breakthrough: William Faulkner and Jackson Pollock in 1947-48,” in A Family Affair: Modern and Contemporary Art from the Anderson Collection at Stanford University (Munich: Delmonico-Prestel, 2014), 81-85
A Short History of Inspiration,” in American Made: Highlights from the Huntington Art Collections (Munich: Delmonico-Prestel, 2014), 175-85
Heir of Theirs: Mitchell Johnson and Fairfield Porter,” in Mitchell Johnson: Color as Content (Menlo Books, 2014), 23-31
Watkins and Singularity,” in Carleton Watkins: The Stanford Albums (Cantor Arts Center, Stanford University Press, 2014), 220-21
The Cauldron: Rubens’s Adoration of the Magi in Madrid,” RES 63/64 (Spring/Autumn 2013): 238-47
James as Magician: Deception and the Moment of Truth,” The Henry James Review 34 (Fall 2013): 213-19
“The Pentimento: Emily Dickinson and Winslow Homer,” in Eliza Richards, ed., Emily Dickinson in Context (Cambridge, Mass.: Cambridge University Press, 2013)
“Rothko Was Rembrandt: How One Artist Became Another,” in Marek Bartelik, ed., Mark Rothko: Paintings from the National Gallery of Art in Washington (Warsaw: The National Museum in Warsaw, 2013), 127-38
“Weightless History: Faulkner, Bourke-White, and Eisenstaedt,” in Fictions of Art History, edited by Mark Ledbury (Williamstown, Massachusetts: Sterling and Francine Clark Art Institute, 2013), 3-20
Swimming: Thomas Eakins, JFK, and November 22, 1963,” in Olivier Meslay, et al., Hotel Texas: An Art Exhibition for the President and Mrs. John F. Kennedy (Dallas Museum of Art and Amon Carter Museum of American Art, Fort Worth, 2013), 78-91
“The Religion of Art and Nothing of Life: Frederick H. Evans’s A Sea of Steps,” in Angus Trumble and Andrea Rager, eds., Edwardian Opulence: British Art at the Dawn of the Twentieth Century (New Haven: Yale University Press, 2013), 125-31
“The Forest of the Old Masters: The Chiaroscuro of American Places,” in Behold America! Art of the United States from Three San Diego Museums (San Diego Museum of Art, 2012), 97-114

Reprinted in Samuel F. B. Morse’s Gallery of the Louvre, ed. Peter J. Brownlee (Chicago: Terra Foundation for American Art, 2014), 168-83


“Judy Garland’s Face,” English Language Notes 50 (Spring/Summer 2012): 85-88
“Ghosts and Sculpture: Harriet Hosmer and Patricia Cronin,” in Patricia Cronin: All Is Not Lost (New Orleans: Newcomb Art Gallery, Tulane University, 2012): 27-30
“The Glitter of Night Hauling: Andrew Wyeth in the 1940s,” Antiques 179 (May/June 2012): 146-55

Reprinted in Wyeth Vertigo (Shelburne, Vermont: Shelburne Museum, 2013), 72-79

Reprinted in Rethinking Andrew Wyeth, ed. David Cateforis (Berkeley: University of California Press, 2014), 100-11
“The Madness of Art: Georgia O’Keeffe and Virginia Woolf,” Art History 34 (September 2011): 818-37; also in Anglo-American: Artistic Exchange between Britain and the USA, eds. David Peters Corbett and Sarah Monks (London: Wiley Blackwell, 2012), 196-215
“When Did Art Become Meaningless? Hiram Powers’s Greek Slave,” Yale Review 99 (April 2011): 94-103
“The Rattlesnake: Benjamin Henry Latrobe and the Place of Art in America,” in Knowing Nature: Art and Science in Philadelphia, 1740-1840, edited Amy Meyers (Yale University Press, 2011), 226-53
“A World Too Much: Democracy and Natural History in the Work of Godman and Audubon,” in Amy Meyers, ed., Knowing Nature: Art and Science in Philadelphia, 1740-1840 (Yale University Press, 2011), 356-75
“Describing Is Descending,” in catalogue to the exhibition, Moby-Dick,

(San Francisco: Wattis Institute for Contemporary Arts, 2009): 117-26


“Seeing Ghosts: The Turn of the Screw and Art History,” in What Is

Research in the Visual Arts?: Obsession, Archive, Encounter, eds. Michael Ann Holly and Marquard Smith (Williamstown, Mass.: Sterling and Francine Clark Art Institute, 2008), 13-32

Reprinted in The Spectralities Reader: Ghosts and Haunting in Contemporary Cultural Theory, edited by Maria del Pilar Blanco and Esther Peeren (London: Bloomsbury, 2013), 527-47
Ground Swell: Edward Hopper in 1939,” American Art 22 (fall 2008): 50-71
“Whitman’s Moment,” PN Review 176 (summer 2007): 30-33
“Albert Bierstadt, Yosemite Valley, Glacier Point Trail,” in Helen Cooper, et

al., Life, Liberty, and the Pursuit of Happiness: American Art from the Yale University Art Gallery (New Haven: Yale University Press, 2008), 315-17


“Newell Convers Wyeth (1882-1945): Illustration for “Drums,” c. 1928,” in

The Collections of the Nelson-Atkins Museum of Art: American Paintings, v. 1

(Kansas City, Mo.: The Nelson-Atkins Museum of Art, 2007), 545-548
“Morris Louis: Court Painter of the Kennedy Era,” in Morris Louis Now:

An American Master Revisited (Atlanta: High Museum of Art, 2006), 21-38
“The Boy in Bed: The Scene of Reading in N. C. Wyeth’s Wreck of the ‘Covenant,’” Art Bulletin 88 (March 2006): 7-27
“The Author Replies,” Art Bulletin 88 (March 2006): 61-69

“The Flight of Form: Auden, Bruegel, and the Turn to Abstraction in the 1940s,” Critical Inquiry 31 (Summer 2005): 780-810

“Coming Home in 1945: Reading Robert Frost and Norman Rockwell,”



American Art 18 (Summer 2004): 59-79
“The Pleasure of Conversation,” in special issue: “The Original Work of Art: What It Has to Teach,” Yale University Art Gallery Bulletin

(2003): 40-45


“Burning Daylight: Remington, Electricity, and Flash Photography”

Nancy Anderson, ed., Frederic Remington: The Color of Night

(Washington, D. C.: The National Gallery of Art, 2003), 78-95
“The Dark Cat: Arthur Putnam and a Fragment of Night,” American Art 16 (Spring 2002): 37-57
“Peak Viewing,” Tate 28 (Spring 2002): 34-39
“Haunted Supermasculinity: Strength and Death in Carl Rungius’s Wary Game,” American Art 13 (Fall 1999): 2-31

(reprinted in Nineteenth-Century Art Worldwide 2 [Spring 2003])


“The Ashes of Germanicus and the Skin of Painting: Sublimation and Money in Benjamin West’s Agrippina,” The Yale Journal of Criticism (Summer 1998): 11-27
“Vanishing Americans: Abbott Thayer, Theodore Roosevelt, and the Attraction of Camouflage,” American Art 11 (Summer 1997): 50-81
“Frederic Remington, Moonlight, Wolf,” in Susan Faxon, et al, Addison Gallery of American Art: 65 Years—A Selective Catalogue (New York: DAP Press, 1996), 454-5
“’A Stirring and Crawling of the Yeasty Thing’: Evolution and Misogyny in the Art of Frederic Remington,” in Patricia Burnham and Lucretia Giese, eds., Redefining American History Painting (Cambridge: Cambridge University Press, 1995), 82-100
“Projecting the Future: Film and Race in the Art of Charles Russell,” American Art 8 (Winter 1993): 71-89
“Modeling My Father,”American Scholar (Spring 1993): 51-63
“N. C. Wyeth’s Theater of Illustration,” American Art 6 (Spring 1992): 37-57
“Frederic Remington: Within and Without the Past,” American Art 5 (Winter/Spring 1991): 37-59
“’Doing the Old America’: The Image of the American West, 1880-1920,” in William Truettner, ed., The West as America: Reinterpreting Images of the

Frontier, 1820-1920 (Smithsonian Institution Press, 1991), 285-343
With William Truettner, “More Bark Than Bite: Thoughts on the Traditional— And Not Very Historical—Approach to Western Art,” Journal of Arizona History 33 (Autumn 1992): 311-24
With William Truettner, “What You See Is Not Necessarily What You Get: New Meaning in Images of the Old West,” Montana: The Journal of Western History 42 (Summer 1992): 70-76

PUBLICATIONS: BOOK REVIEWS

“Paper Stars,” review of Wicked Intelligence: Visual Art and th Science of Experiment in Restoration London, by Matthew C. Hunter, Art History 38 (June 2015): 566-68


“The Usable Photograph,” review of The Realisms of Berenice Abbott: Documentary Photography and Political Action, by Terri Weissman, Oxford Art Journal 35 (2012): 289-91
Blood Shed in This War: Civil War Illustrations by Captain Adolph Metzner, 32nd Indiana, by Michael A Peake, Indiana Magazine of History 108 (June 2012): 186-187
Photography and Literature,” by François Brunet, CAA Reviews Online (April 2010)
Archive Style: Photographs & Illustrations for U. S. Surveys, 1850-1890,”

by Robin Kelsey, CAA Reviews Online (November 2007)


Looking Askance: Skepticism and American Art from Eakins to

Duchamp,” by Michael Leja, Art Bulletin (December 2005): 732-735
The Victorians and the Visual Imagination,” by Kate Flint, Albion 34 (Summer 2002): 333-34
Behold the Hero,” by Alan McNairn, Albion 31 (Spring 1999): 116-117
The Frederic Remington Studio,” by Peter Hassrick, Great Plains Quarterly 18 (Winter 1998): 75-76
Art of the Gold Rush,” by Janice Driesbach and Harvey Jones; “Direct from Nature: The Oil Sketches of Thomas Hill,” by Janice Dreisbach; and “Paintings Of California,” by Ilene Susan Fort, California History 77 (Fall 1998): 187-189
Thomas Moran and the Surveying of the American West,” by Joni Kinsey, Gateway Heritage 14 (Fall 1993): 69-70


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