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Class of 1978, On the Internet (1 of 2): Claude CernuschiFROM: BOSTON COLLEGE FINE ARTS DEPARTMENTClaude Cernuschi BOSTON COLLEGE FINE ARTS DEPARTMENT Associate Professor and Assistant Chair, Art History Field of Interest Claude Cernuschi's major field of interest is 20th century art and theory. His research till now has focused primarily on Expressionism and Abstract Expressionism, with special attention to drawing interdisciplinary parallels between works of art and ideas stemming from fields such as psychology and philosophy. He received his Ph.D from the Institute of Fine Arts of New York University in 1988. Publications: Books Jackson Pollock (Manuscript under contract with Phaidon Press for its Art & Ideas series). Re/Casting Kokoschka: Ethics and Aesthetics, Epistemology and Politics in Fin-de SiËcle Vienna (Fairleigh Dickinson University Press, 2002). ìNot an Illustration, but the Equivalentî: A Cognitive Approach to Abstract Expressionism (Fairleigh Dickinson University Press, 1997). Jackson Pollock: Meaning and Significance (Harper Collins, 1992). Jackson Pollock: "Psychoanalytic" Drawings (Duke University Press, 1992). Publications: Articles and Essays ìMindscapes and Mind Games: Visualizing Thought in the Work of Roberto Matta and His Abstract Expressionists Contemporaries,î in Goizuetta, Elizabeth (ed.) Matta: Making the Invisible Visible (forthcoming). ìAnatomical Dissection and Religious Identification: A Wittgensteinian Response to Oskar Kokoschkaís Alternative Paradigms for Truth in his Self-Portraiture Prior to World War I,î in Natter, G. Tobias (ed.) Oskar Kokoschka: Early Portraits from Vienna and Berlin, 1909-1914 (New Haven: Yale University Press, 2002), pp. 43-49; also translated as ìAnatomisches Sezieren und religiˆse Identifikation: Eine Wittgensteinsche Antwort auf Oskar Kokoschkas Alternativparadigmen zur Wahrheitsfindung in seinen vor dem Ersten Weltkrieg enstandenen Selbstportr‰ts,î in Oskar Kokoschka: Das Moderne Bildnis 1909 bis 1914 (Hamburg, Kunsthalle, 2002), pp. 43-49. ìSex and Psyche, Nature and Nurture, the Personal and the Political: Edvard Munch and German Expressionism,î in Howe, Jeffery (ed.) Edvard Munch: Psyche, Symbol and Expression, McMullen Museum of Art, Boston College, 2001, pp. 132-65. ìThe Application of Psychoanalysis to the Humanities: Science or Hermeneutics?î in The Plume and the Palette: Essays in Honor of Josephine von Henneberg (New York: Peter Lang, 2001), pp. 27- 45. ìBody and Soul: Oskar Kokoschka's The Warrior, Truth, and the Interchangeability of the Physical and Psychological in Fin-de-SiËcle Vienna.î Art History 23 (March 2000): 56-87. ìOskar Kokoschka and Sigmund Freud: Parallel Logics in the Exegetical and Rhetorical Strategies of Expressionism and Psychoanalysis.î Word & Image 15 (October-December 1999): 351-380. ìPseudo-Science and Mythic Misogyny: Oskar Kokoschka's Murderer, Hope of Women.î Art Bulletin 81(March 1999): 126-48. ìVisual and Ideological Pluralism in Practice: Contemporary Irish Women Artists in Context,î in Conley, Alston and Grinnell, Jennifer (eds.) Re/Dressing Cathleen: Contemporary Works from Irish Women Artists, McMullen Museum of Art, Boston College, 1997, pp. 19-35. ìArtist as Christ/Artist as Criminal: Oskar Kokoschka's Self-Portrait for Der Sturm, Myth, and the Construction of Identity in Vienna 1900,î Religion and the Arts 2 (1997): 93-127. ìFranz Kline's Probst I: A Cognitive Approach to Gestural Abstraction.î Journal of the Museum of Fine Arts, Boston, 6 (1994): 76-98. ìCommunication Without Conventions?: Reading Mark Rothko's Abstractions.î Source: Notes in the History of Art 11 (Spring/Summer 1992): 65-69. ìMark Rothko's Mature Paintings: A Question of Content.î Arts Magazine, 60(May 1986): 54-57. Publications: Reviews and Book Reviews ìAlston Conley,î and ìMary Armstrong,î Post Road 7 (Fall 2003):73-74. ìA Sum of Destructions: Picassoís Cultures & The Creation of Cubism by Natasha Staller.î Amherst Magazine 55 (Spring 2003): 32, 34-35.î ìThe Politics of Abstract Expressionism.î [Review of David Cravenís Abstract Expressionism as Cultural Critique: Dissent During the McCarthy Period] Archives of American Art Journal 39 no 1 & 2(2000): 30-42. ìJackson Pollock at MoMA: On the Surface and Under the Rug.î [Review of Kirk Varnedoe and Pepe Karmel, Jackson Pollock] Archives of American Art Journal 38 no 3 & 4 (2000): 30-38. "The Rothko Chapel in Houston: The Structure of Meaning or the Meaning of Structure?î [Review of Sheldon Nodelman's The Rothko Chapel Paintings: Origins, Structure, Meaning] Religion and the Arts 3-3/4(1999): 454-475. ìMark Rothko from Alpha to Omega.î [Review of David Anfam, Mark Rothko: The Works on Canvas] Archives of American Art Journal 38 no 1 & 2(1999): 39-45. Publications: Encyclopedia and Dictionary Entries ìJackson Pollock,î in Paul S. Boyer (ed.) The Oxford Companion to United States History (New York: Oxford University Press, 2001). ìAndrÈ Masson,î ìSurrealism,î ìCubism,î ìPicasso.î Essays in Microsoft's Encarta 2000 CD-Rom encyclopedia. ìJackson Pollock,î ìMark Rothko,î ìWillem DeKooning,î ìHans Hofmann,î ìModern Art.î Essays in Microsoft's Encarta 99 CD-Rom encyclopedia. SOURCE: http://www.bc.edu/schools/cas/finearts/faculty/arthistory/cernuschi/ |
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