Name: Reva Wolf
Academic Rank: Professor
Department: Art History
Expertise Keywords: Andy Warhol, Art and humor, Art and satire, Art-historical methodology, Artist interviews, Collecting, Eighteenth-century art, Francisco de Goya, George Kubler, History of modern and contemporary art, Interdisciplinary studies, Portraiture, the Simpsons, Word-image relationships
Available For: interviews, essays, speaking
Expertise: My research focuses on how art functions, or "lives" in the world; that is, on how it gains meaning through its production, reception, relationship to verbal language, and connections to social and political circumstances. To explore this topic, I have studied closely the work of two artists, Francisco de Goya and Andy Warhol, as it functioned within their respective societies and subsequently. I have written a book on each artist, as well as several essays and journal articles. I have pioneered research on the history and functions of the artist interview. Other topics I have published on include the eighteenth-century satirical print, methodology, art collecting, and the Simpsons and art. My work has been published in highly regarded venues (such as the Frick Collection, NY, the Art Journal, and University of Chicago Press). I have lectured at the Frick Collection (NY), Courtauld Institute (London), Metropolitan Museum of Art, the Boston Museum of Fine Arts, the Harvard University Film Archive, the Boston Institute of Contemporary Art, and numerous other locations.
Currrent Research: Some of my current research topics are: representations of peepshows in satire in the eighteenth and early nineteenth centuries; an examination of difficult questions of authenticity in the art of Andy Warhol; art and place in the work of Goya
Positions held at New Paltz prior to current position:
Assistant Professor; Associate Professor
Positions held prior to joining SUNY New Paltz:
Assistant Professor, Boston College
|Brandeis University||1974-78||B.A.||1978||Art History|
|Institute of Fine Arts, New York University||1982-87||Ph.D.||1987||History of Modern Art|
|Institute of Fine Arts, New York University||1978-81||M.A.||1981||History of Modern Art|
SELECTED AWARDS, GRANTS, AND HONORS
Chancellor’s Award for Excellence in Teaching, State University of New York, 2011.
Biographical listing in Contemporary Authors, published by Gale Research, 1999 onward.
Citation of my book on Andy Warhol in The Reader's Catalog: An Annotated Listing of the 40,000 Best Books in Print in Over 300 Categories, ed. Geoffrey O'Brien, 2d ed., published by the New York Review of Books, 1997.
Member and National Endowment for the Humanities Fellow, Institute for Advanced Study, Princeton, N.J., to begin work on a study of interviews with artists, 1995-96.
National Endowment for the Humanities stipend to attend a Summer Seminar for College Teachers on the topic of portraiture and biography, The Houghton Library, Harvard University, 1992.
Museum Programs Special Exhibitions Grant, National Endowment for the Arts, for an exhibition about Goya and the satirical print, 1991.
Andrew W. Mellon Junior Faculty Fellowship in the Humanities, Department of Fine Arts, Harvard University, to work on a book about Andy Warhol's interactions with poets, 1990-91.
Visiting Fellowship, Yale Center for British Art, to research an exhibition about Goya and the satirical print, 1989.
J. Clawson Mills Fellowship, Metropolitan Museum of Art, to work on my Ph.D. dissertation about Goya and the influence of British Art and Aesthetics in Spain, 1985-86.
Phi Beta Kappa, Brandeis University, awarded in 1978.
Other professional activities
EXHIBITION CO-ORGANIZER AND CATALOGUE EDITOR. Andy Warhol: Private and Public in 151 Photographs. New Paltz, NY: Samuel Dorsky Museum of Art, 2010 [with scholarly essays by 24 students].
EXHIBITION ORGANIZER. Goya and the Satirical Print in England and on the Continent, 1730 to 1850, Boston College Museum of Art, January 28-April 20 1991; The Spanish Institute, New York, May 7-June 29 1991; Widener Library, Harvard University, January 28- March 29 1991 (supplementary exhibition of satirical prints).
EXHIBITION ORGANIZER. Record of an Experience: Works on Paper by Abraham Walkowitz, Rose Art Museum, Brandeis University, Spring 1978.
ORGANIZER, PARTICIPANT. Conference panels, symposia, lectures, for the College Art Association (national professional organization of art historians, critics and artists) and for the State University of New York at New Paltz (for a complete listing, see http://faculty.newpaltz.edu/revawolf/index.php/cv/).
EXPERT WITNESS for Boies, Schiller & Flexner on behalf of the Andy Warhol Foundation.
EVALUATOR. Manuscript evaluator, various; external evaluator of faculty, various.
CONSULTANT. Christie's, NY.
College Art Association, Member (Services to Artists Committee Member, by appointment, 2006-09)
American Society for Hispanic Art Historical Studies, Member
Association of Historians of American Art, Member
ESSAY. “John Bull, Liberty and Wit: How England Became Caricature.” In The Efflorescence of Caricature, 1759–1838, edited by Todd Porterfield. London: Ashgate Publishing, 2011, 49-60.
ESSAY. “Goya’s ‘Red Boy’: The Making of a Celebrity.” In Art in Spain and the Hispanic World: Essays in Honor of Jonathan Brown, edited by Sarah Schroth. London: Paul Holberton, 2010, 144-173.
EXHIBITION CATALOGUE. Co-author, with Jonathan Brown, Lisa A. Banner, and Andrew Schulz. The Spanish Manner: Drawings from Ribera to Goya. New York: The Frick Collection, in association with Scala Publishers, 2010.
ARTICLE. “The Shape of Time: Of Stars and Rainbows.” Art Journal 68 (Winter 2009): 62-70.
CATALOGUE. Brief catalogue entries on David Smith’s Table Torso (1942), and on R. B. Kitaj’s In Our Time (1969), The Rose Art Museum at Brandeis. New York: Abrams, 2009, 126 and 147.
ARTICLE. “Mess and Message: Ted Berrigan’s Poetics of Appropriation.” Intervalles 4-5 (Fall 2008-Winter 2009): 1013-1023 (http://www.cipa.ulg.ac.be/intervalles4/contentsinter4.php).
ESSAY. “The Scholar and the Fan.” In What Is Research in the Visual Arts? Obsession, Archive, Encounter, edited by Michael Ann Holly and Marquard Smith. Williamstown, Mass.: Sterling and Francine Clark Art Institute; distributed by Yale University Press, 2008, 158-67.
ARTICLE. “Homer, un outsider dell’arte.” In I Simpson: Il ventre onnivoro della tv postmoderna, edited by Corrado Peperoni. Rome: Bulzoni Editore, 2007, 175-92. Translation of “Homer Simpson as Outsider Artist” (Art Journal, 2006).
ARTICLE. “Homer Simpson as Outsider Artist, or How I Learned to Accept Ambivalence (Maybe).” Art Journal 65 (Fall 2006): 100-111.
ESSAY. “Through the Looking-Glass.” Introduction to I’ll Be Your Mirror: The Collected Andy Warhol Interviews, edited by Kenneth Goldsmith with an afterword by Wayne Koestenbaum. New York: Carroll & Graf, 2004, xi-xxxi and 403-09.
ESSAY. “Work into Play: Andy Warhol’s Interviews.” In Andy Warhol: Work and Play. Burlington, Vt.: Robert Hull Fleming Museum, The University of Vermont, 2003, 10-31.
ESSAY. “The Flower Thief: The ‘Film Poem,’ Warhol’s Early Films, and the Beat Writers.” In Experimental Cinema, The Film Reader, edited by Wheeler Winston Dixon and Gwendolyn Audrey Foster. London: Routledge, 2002, 189-211. Reprint of chapter five of Andy Warhol, Poetry, and Gossip in the 1960s.
ESSAY. “Goya: Image, Reality, and History.” In Goya’s Realism, edited by Vibeke Knudsen. Copenhagen: Statens Museum for Kunst, 2000, 72-91.
ESSAY. “Goya: Billede, virkelighed og historie.” In Goya’s realisme. Danish edition of the above.
ESSAY. “’Progress is very important and exciting in everything except food.’” In Andy Warhol Photography. Hamburg: Hamburger Kunsthalle; and Pittsburgh: Andy Warhol Museum, 1999, 227-41.
ESSAY. “’Fortschritt ist sehr wichtig und aufregend, ausser beim Essen.’” In Andy Warhol Photography. German edition of the above.
ESSAY. “Domestic Rescue: Some Thoughts on the Art of Jamie Bennett.” In Jamie Bennett: Ordinary Sites. Lincoln, Mass.: Clark Gallery, 1999, unpaged.
ARTICLE. “Thinking You Know.” Poetics Journal 10 (June 1998): 165-78.
ARTICLE. “The Uses of Foucault’s History of Sexuality in the Visual Arts.” Philosophy Today 42 (Spring 1998): 85-94.
BOOK. Andy Warhol, Poetry, and Gossip in the 1960s. Chicago: University of Chicago Press, 1997.
ARTICLE. “The Word Transfigured as Image: Andy Warhol’s Responses to Art Criticism.” The Smart Museum of Art Bulletin 7 (1997): 9-17.
ARTICLE. “A Radio and a Crucifix.” Religion and the Arts 1 (Fall 1996): 11-14.
ESSAY. “Writing New Histories in the Interview.” In New Histories, edited by Lia Gangitano and Steven Nelson. Boston: Institute of Contemporary Art (distributed by D.A.P.), 1996, 40-44.
ARTICLE. “Portraiture as Gossip: Andy Warhol’s 1963 Cover Design for C: A Journal of Poetry.” Harvard Library Bulletin 5 (Summer 1994): 31-50.
ESSAY. “Sexual Identity, Mask, and Disguise in Goya’s Los Caprichos: On Modernity and the Limits of Perception.” In Goya. Neue Forschungen, edited by Jutta Held. Berlin: Gebrüder Mann Verlag, 1994, 89-110.
ESSAY. “Repetition as Regeneration: Works on Paper by Aaron Fink.” In Aaron Fink: Works on Paper. Fort Collins, Colo.: Hatton Gallery, Colorado State University, 1994, 8-13.
ARTICLE. “Collaboration as Social Exchange: Screen Tests/A Diary by Gerard Malanga and Andy Warhol.” Art Journal 52 (Winter 1993): 59-66.
ESSAY. “Inner Eye: Still Lifes by Barbara Swan.” Boston: Alpha Gallery, 1992, unpaged pamphlet.
BOOK. Goya and the Satirical Print in England and on the Continent, 1730 to 1850. Boston: David R. Godine, Publisher, Inc., 1991.
ESSAY. “Onlooker, Witness and Judge in Goya’s Disasters of War” and “The Disasters of War.” In Fatal Consequences: Callot, Goya, and the Horrors of War. Hanover, N.H.: Hood Museum of Art, Dartmouth College (distributed by Syracuse University Press), 1990, 37-52 and 85-88.