Vivien Green Fryd teaches American art from the colonial period to the present, as well as courses in nineteenth-century European art, methods in art history, American Studies, and gender studies. She is the author of Art and Empire: The Politics of Ethnicity in the United States Capitol, 1815-1865 (Ohio University Press, 2001; reprint Yale University Press, 1992) and Art and the Crisis of Marriage: Georgia O'Keeffe and Edward Hopper (University of Chicago Press, 2003). She is currently writing a book manuscript entitled, "Performing Sexual Trauma in Second-wave Feminist Art." She has published articles in The Art Bulletin, The American Art Journal, The Winterthur Portfolio, American Art, the National Women's Studies Association Journal, Common-place: The Interactive Journal of Early American Life, Continuum, Traumatology, and other journals, and has essays in a number of edited books, including Critical Issues in Public Art: Content, Context, and Controversy, ed. Harriet F. Senie and Sally Webster (HarperCollins, 1992), Critical Issues in American Art, ed. Mary Ann Calo (Westivew Press, 1998), and Reading Country Music: Steel Guitars, Opry Stars, and Honky-Tonk Bars, ed;. Cecelia Tichi (Duke University Press, 1998). From 2008 to 2009, Prof. Fryd served as director of "Trauma Studies," a fellows' program at the Robert Penn Warren Center for the Humanities. |
Vivien Green Fryd CURRICULUM VITAE
Vivien Green Fryd
EDUCATION:
Ph.D. 1984, University of Wisconsin-Madison, "Sculpture as History: Themes of Liberty, Unity, and Manifest Destiny in American Sculpture, 1825-1865."
M.A. 1977 Ohio State University, "Romaine Brooks: La Femme Qui Voit Sa Mort."
B.A. 1974 Ohio State University
PROFESSIONAL EMPLOYMENT:
Chair, Department of History of Art, Vanderbilt University, Nashville, TN, 2009-present
Vice Chair, Department of the History of Art, Vanderbilt University, 2008-2009.
Professor, Vanderbilt University (2003-present).
Associate Professor, Vanderbilt University (1992-2003).
Assistant Professor, Vanderbilt University (1985-1992).
Visiting Assistant Professor, Arizona State University, Tucson, AZ (1984-1985).
Assistant to the Associate Dean, University of Wisconsin-Madison, College of Letters and Science Student Academic Affairs, Madison, WI (1981-1984).
Instructor, Pittsburg State University, Pittsburg, KS, Summer (1978).
AUTHORED BOOKS:
Art and the Crisis of Marriage: Georgia O’Keeffe and Edward Hopper (Chicago: University of Chicago Press, 2003). 265 pp.
Art and Empire: The Politics of Ethnicity in the United States Capitol, 1815-1860 (New Haven: Yale University Press, 1992; reprint in paperback, Athens: Ohio University Press, 2000). 278pp. and 273 pp.
BOOKS IN PROGRESS:
"Representing and Performing Sexual Trauma in Second-Wave Feminist American Art"
"Henry Ries: A Witness to the Aftereffects of the Holocaust and Commercial Photography"
BOOK CHAPTERS:
“Modern Emblematic Portraits: The Interplay of Word and Image.” In Words and Pictures: An Inevitable Knowledge, ed. Ellen Spolsky. (Bucknell University Press: 2004), 147-60.
“Masking Slavery in and on the United States Capitol Rotunda,” in American Pantheon: Sculptural and Artistic Decoration of the United States Capitol, edited by Donald R. Kennon and Thomas P. Somma (Athens, OH: Ohio University Press, 2004), 143-159.
"Imaging the Indians in the United States Capitol during the Early Republic." In Native Americans and the Early Republic, ed. Frederick E. Hoxie, Ronald Hoffman, and Peter J. Albert, 297-330 (University of Virginia Press: 1999).
"'The Sad Twang of Mountain Voices': Thomas Hart Benton's Sources of Country Music," in Reading Country Music: Steel Guitars, Opry Stars, and Honky-Tonk Bars, edited by Cecelia Tichi, 256-285, (Durham, NC: Duke University Press, 1998). Originally published in South Atlantic Quarterly 94 (Winter 1995): 301-335.
"Two U.S. Capitol Statues: Horatio Greenough's Rescue and Luigi Persico's Discovery of America," in Critical Issues in American Art, edited by Mary Ann Calo, 93-108 (New York, Harper Collins: 1997). Originally published in The American Art Journal 19 (1987), 16-39.
"Political Compromise in Public Art: Thomas Crawford's Statue of Freedom," in Critical Issues in Public Art: Content, Context and Controversy, edited by Harriet Senie and Sally Webster, 105-114 (New York: Harper/Collins, 1992; 105-114, 2nd edition, “Washington, D. C.: Smithsonian Institution Press, 1998).
"The Italian Presence in the United States Capitol," in The Italian Presence in American Art, 1760-1860, edited by Irma Jaffe, 132-149 (New York and Rome: The Instituto della Enciclopedia Italiana and Fordham University, 1989).
ARTICLES IN PEER REVIEW JOURNALS:
“At Home Project with Judy Chicago and Donald Woodman: Visual Stimuli for Traumatic Memories,” Traumotology, special issue “History and Trauma” (forthcoming, December 2009).
“Bearing Witness to the Trauma of Slavery in Kara Walker’s Eight Possible Beginnings,” Continuum, special issue, “Trauma and History,” 24, no. 1 (2010).
“Veiling and Unveiling Racism and Race in Thomas Crawford’s Statue of Freedom,” Common-place (forthcoming October 2009).
“Suzanne Lacy’s Three Weeks in May: Performance Art as 'Expanded Public Pedagogy,'” submitted to National Women’s Studies Association Journal 19 (special issue, Spring 2007): 23-38.
“The ‘Ghosting’ of Incest and Female Liasons in Harriet Hosmer’s Beatrice Cenci,” The Art Bulletin 88 no. 2 (June 2006): 292-309.
“Interview with Jo-Anne Berelowitz about Art and the Crisis of Marriage,” Genders OnLine Journal 39 (2004), 1-9.
“Georgia O’Keeffe’s Radiator Building: Gender, Sexuality, and Urban Imagery,”Winterthur Portfolio 35 (Winter 2001): 269-289.
“Shifting Power Relations: Edward Hopper’s Girlie Show," American Art 14 (Summer 2000): 52-75.
"Rereading the Indian in Benjamin West's Death of General Wolfe," American Art 9 (Spring 1995): 73-85.
"'The Sad Twang of Mountain Voices': Thomas Hart Benton's Sources of Country Music," South Atlantic Quarterly 94 (Winter 1995): 301-335. Reprinted in Reading Country Music: Steel Guitars, Opry Stars, and Honky-Tonk Bars, edited by Cecelia Tichi, 256-285, (Durham, N.C.: Duke University Press, 1998).
"The Object in the Age of Theory," American Art 8 (Spring 1994): 2-5.
"The Politics of Public Art: Art in the United States Capitol," The Journal of Arts Management, Law and Society 23 (Winter 1994): 327-340.
"Two U.S. Capitol Statues: Horatio Greenough's Rescue and Luigi Persico's Discovery of America," The American Art Journal 19 (1987), 16-39. Republished in Critical Issues in American Art, edited by Mary Ann Calo, 93-108 (New York, Harper
Collins, 1997).
"Hiram Powers's America: Triumphant as Liberty and in Unity," The American Art Journal 17 (1986), 54-75.
"Hiram Powers' Greek Slave: Emblem of Freedom," The American Art Journal 14 (Autumn, 1982), 31-39.
OTHER ARTICLES
“Thomas Crawford’s Statue of Freedom, “Picturing U.S. History: An Online Resource for Teaching with Visual Evidence,” funded by the National Endowment for the Humanities, www.picturinghistory.gc.cuny.edu.
“Edward Hopper and the Marriage-in-Crisis Debates during the Interwar Years,” INTAMS Review--Brussels 9 (Autumn 2003): 242-54.
“Georgia O’Keeffe and Alfred Stieglitz: A Marriage in Crisis, 1927-1933.” In Amor y Desamor en las Artes, edited by Arnulfo Herra Curiel, pp. 67-81. XXII Coloquio Internacional de Historia del Arte. Mexico 2001.
"Hiram Powers's Bust of George Washington: The President as an Icon," Phoebus: A Journal of Art History 5 (1987), 14-27; 125-129.
"Horatio Greenough's George Washington: The Apotheosis of a President," The Augustan Age, occasional papers 1 (1987), 70-86; 96 on.
"Randolph Rogers' Indian Hunter Boy: Allegory of Innocence," Elvehjem Museum of Art Bulletin 1984-1985, (1986), 29-37.
GRANTS RECEIVED:
Getty Foundation Grant to participate (with others at the Otis College of Art and Design) in A Public Center of One’s Own: The Woman’s Building’s Contribution to the Arts in Los Angeles, an exhibition and catalogue.
Director and Spence and Rebecca Webb Wilson Fellow for “Trauma Studies,” The Robert Penn Warren Center for the Humanities year-long fellows’ program, 2008-9.
Vanderbilt Research Scholar Grant, 2006.
Faculty Fellow, “Strategic Actions: Women, Power, and Gender Norms," The Robert Penn Warren Center for the Humanities year-long fellows’ program, 2004-5.
Society for the Preservation of American Modernists Grant. For Art and the Crisis of Marriage: Georgia O’Keeffe and Edward Hopper, May 2001.
Vanderbilt University Central Research Scholar Grant for Art and the Crisis of Marriage: Georgia O'Keeffe and Edward Hopper, April 2001.
Vanderbilt University Research Council Fellowship, academic year 1998.
Vanderbilt University Research Council Direct Support Grant, 1997.
Kenan-Venture Fund 1994-1995.
Faculty Fellow, "American Studies," The Robert Penn Warren Center for the Humanities year-long fellows program, 1993-1994.
Fellow Faculty and Co-Director, "Transatlantic Voyages: Discovery of the New World and the Old," The Robert Penn Warren Center for the Humanities, Vanderbilt University, academic year 1991-1992.
Vanderbilt Subvention Fund, 1991.
Keenan-Venture Fund, Vanderbilt University, 1990.
American Council of Learned Society Grant-in-Aid, 1989.
Vanderbilt University Research Council Fellowship, academic year 1988-89.
Smithsonian Short Term Visitor Grant, 1987.
Capitol Historical Society Fellowship, 1987.
Vanderbilt University Research Council Direct Support Grant, 1986.
PROFESSIONAL SERVICE:
Sessions Coordinator, Association of Historians of American Art (2007-2010).
President Visual Culture Caucus of the American Studies Association (2005-present).
Vice President Visual Culture Caucus of the American Studies Association (2004-present).
Fulbright Senior Specialists Program Discipline Peer Review Committee (2004-present).
Program Committee of the American Studies Association, 1994.
John Hope Franklin Publication Prize Committee, American Studies Association, 1994.
Constance O'Rourke Prize Committee, American Studies Association, 1992.
INVITED PRESENTATIONS:
“Intersecting Lives: Judy Chicago and Donald Woodman in Collaboration,” Vanderbilt University, February 2006.
“Invoke, Evoke, and Provoke: A Multimedia Project of Discovery,” opening of the exhibition April 22, Sunday lectures April 23 and April 30, and Commencement Faculty Seminar May 11, 2006
“Judy Chicago’s and Donald Woodman’s At Home: Family Secrets,” Florida State University, May 25, 2006.
“Hudson River School,” Frist Center for the Visual Arts, Nashville, TN, October 2005.
“Harriet Hosmer’s Beatrice Cenci,” keynote speaker, “Interfaces of Art and Terror,” The 15th Annual Graduate Symposium, Indiana University, April 2005.
“Judy Chicago’s At Home Project,” University of Colorado, Boulder, March 2005.
“Harriet Hosmer and the Mercantile Library,” lecture in the series Women and Art sponsored by the Mercantile Library, St. Louis, March 2005.
“Robert Rauschenberg: An American Iconoclast,” lecture in conjunction with the exhibition at the Fine Arts Gallery, Vanderbilt University, March 3, 2004.
“Judy Chicago’s Career as a Feminist Artist,” Sarratt Gallery, Vanderbilt University, in conjunction with the exhibition of The At Home Project, February 26, 2004.
“Off the Wall: Conversations on the Phillips Collection—Phillips as a Patron.” Frist Center for the Visual Arts, February 11, 2004.
“Art of Tennessee: Southern or National Identity?” Frist Center for the Visual Arts, November 2, 2003.
“The 'Ghosting’ of Incest and Same-Sex Relationships in Harriet Hosmer’s Beatrice Cenci,” Seminar, University of Arizona, October 17, 2003.
“Georgia O’Keeffe’s Crosses and Skulls: Death and Regeneration of a Marriage,” Distinguished Visiting Scholar for the Division of Art History, University of Arizona, October 16, 2003.
“Georgia O’Keeffe,” keynote address, Kendall College of Art and Design, March 31, 2003.
“Art and the Crisis of Marriage: Edward Hopper and Georgia O’Keeffe,” Chicago Art Institute March/April Potpourri Lecture/Booksigning, March 20, 2003.
“Andy Warhol: Pop Art and Pop Icon,” in conjunction with the closing of the exhibit ICON: Andy Warhol at the Parthenon,” The Parthenon Art Museum, Nashville, TN, January 4, 2003.
“The Indian Removal Policy Figured in the U.S. Capitol Decorations,” The Hermitage, Nashville, TN, April 2002.
“Critical Engagement: Artistic Practice in Post Modern Times,” in “Postmodernism: Three Perspectives,” The Frist Center of Visual Arts. Nashville, April 2002.
“Why Have There Been No Great Women Artists?” The Parthenon, Nashville, January 2002.
”From the Civil War to the War with Nature: Winslow Homer,” in conjunction with the exhibition, “Winslow Homer: An American Genius,” at the Parthenon, Nashville, July 2000.
“Masking Slavery in and on the U. S. Capitol Rotunda,” U.S. Capitol Historical Society, September 1999.
“The Nashville Battle Monument: Symbol of National Reconciliation,” For the “Battle Monument Symposium,” Sponsored by the Battle of Nashville Preservation Society, David Lipscomb University, Nashville, November 1998.
”The Dynamics of Control: Edward Hopper’s Images of the Female Nude,”“Iconotropisms,” Bar-Ilan University, Ramat Gan, Israel, March 1998.
“Gertrude Stein, Georgia O’Keeffe, and the Abstract Portrait,” Ben Gurion University of
the Negev, Beer-Sheva, Israel, March, 1998.
“Georgia O'Keeffe's Masculinist Strategy in The Radiator Building," Ohio State University, May 1997.
"Public Monuments: Public Sites of Controversy," "The Life and Legacy of Ulysses S. Grant," sponsored by Columbia University's Department of History, National Park Service, Organization of American Historians," Columbia University, April, 1995.
“Representing Homespun Country for Middle Class Americans: Thomas Hart Benton's Sources of Country Music," "Representing the Middle Class," Sponsored by the Hungarian Academy of Sciences and the International Research and Exchange Board in Washington, DC, Budapest, June 1994.
"Race, Class, and Gender in the Art in the United States Capitol," History Department, Smith College, April 1994.
"Images of National Identity: American and Liberty in the United States Capitol, for "Images and Symbols of America," Japan-United States Collaborative Research Project, sponsored by the Japanese Association of American Studies and the Association of American Studies, Kyoto, Japan, April 1993.
"Imaging the Indians in the U. S. Capitol during the Early Republic," in "Native Americans in the Early Republic," sponsored by the United States Capitol Historical Society, the Newberry Library, and the United States Congress, March, 1992.
"History and Myth: Randolph Rogers's Columbus Bronze Doors," Symposium on the Art and Architecture of the Capitol, sponsored by the United States Capitol Historical Society, Washington, DC, March, 1990.
"The Frontier Myth: Art and Iconography of the United States Capitol, 1820-1860," paper presented at the University of Delaware American Art Symposium, "Decorating Our Nation: Art and Architecture in the Public Eye," April, 1989.
"The Italian Presence in the United States Capitol," paper presented at the symposium, "Insight and Inspiration: The Italian Presence in American Art, 1760-1860," sponsored by The Instituto della Enciclopedia Italiana and Fordham University, November, 1987.
"Samuel F. B. Morse's The House of Representatives: Democracy Triumphant?" paper presented at a symposium entitled, "Samuel F. B. Morse, Artist, Idealist, Teacher, Friend," Tucson Museum of Art, April, 1985.
CONFERENCE PAPERS AND PANELS:
“The Trauma of Slavery in Kara Walker’s Eight Possible Beginnings,” for “Interrogating Trauma: Art and Media Responses to Collective Suffering,” Perth, Western Australia, December 2008.
“Faith Ringgold's Slave Rape Story Quilt: Ending the Silence,” in the session, “Slavery, Sexuality, and the Shape of Public Memory in the United States, 1888–1985,” American Studies Association, Albuquerque, NM, October 2008.
“Beyond Portraits of Dead White Men: Art History as Social History,” roundtable discussion, Society for Historians of the Early American Republic, Philadelphia, July 2008.
“Womanhouse and At Home (A Kentucky Project with Judy Chicago and Donald Woodman): From Second- to Third-Wave Feminism,” Sixth Annual Meeting of the Cultural Studies Association, New York University, May 2008.
Co-chair, “The Impermanent Collection,” sponsored by the Association of Historians of American Art, 2008 CAA Conference, February, 2008.
Chair, “American Art and Sexual Trauma,” Feminist Art Project at 2007 CAA Conference, February 2007.
Faith Ringgold’s Slave Rape Story Quilt: Ending the Silence,” in "African Americans and Visual Art: Exploring/Exploding Racialized Readings,” SECAC, Vanderbilt University, October 2006.
“The ‘Ghosting’ of Incest in Harriet Hosmer’s Beatrice Cenci,” in “The Victorian Body in the American Imagination,” American Studies Association, November 2004, Atlanta, GA.
“Suzanne Lacy’s and Leslie Labowitz’s In Mourning and in Rage: Ending the Silence of Sexual Abuse and Rape in the United States,” College Art Association, Seattle, February 19, 2004.
“Unspeakable Act: Male Rape,” American Men’s Studies’ Association 11th annual conference, April 11, 2003.
“Georgia O’Keeffe’s Skulls and Crosses: Death and Regeneration of a Marriage,” paper presented at the twelfth annual New Mexico Art History conference, Taos, NM, October 2000.
“The ‘Veil of Race’ In Thomas Crawford’s Statue of Freedom,” College Art Association at the Metropolitan Museum of Art, February 2000, New York.
“Single-Family Homes Versus Multi-Dwelling Apartments: Edward Hopper and the Marriage-in-Crisis Debate,” in the panel “Marriage and Modernity,” American Studies Association, Montreal, Canada, October 1999.
“The Politics of Race Atop the U. S. Capitol,” Social Theory, Politics & the Arts, 25th Annual Conference, Vanderbilt University, October 1999.
“Georgia O’Keeffe and Alfred Stieglitz: A Marriage in Crisis, 1928-1933,” XXIII International Colloquium of Art History: Love and Disaffection in the Arts, Mexico, September 1999.
Chair and Organizer, “American Re-Visions: Evaluating Robert Hughes’s Media Blitz,” College Art Association, February 1999.
“Gender Constructions in Camera Work: The Man Behind the Camera and Woman Before the Camera,” American Culture Association and Popular Culture Association in San Diego, CA, March, 1999.
“Southern Memory of the Civil War in Monuments,” Kentucky-Tennessee American Studies Association, KY, April 1999.
"Museums," "Perceptions of Time/Perceptions of Being: The Humanities as We Approach the 21st Century," National Association for Humanities Education, Provo, UT, March 1997.
"Shifting Identities in American Scene Painting," Israel Association of American Studies, Hebrew University, Jerusalem, Israel, November 1996.
"The Dialectics of Sight and Touch in Edouard Manet's Bar at the Folies Bergere, "Sensual Reading," Aberdeen Critical Theory Seminar, University of Arberdeen, Scotland, July, 1996.
"Georgia O'Keeffe's Identification as a De-Gendered Artist," "Feminism and the Aesthetics of Difference," organized by Falmouth College of Arts and Institute of Romance Studies, University of London, Great Britain, September, 1995.
"On the 400th Anniversary of Pocahontas's Birth: What Ground Have 'We' Covered and Where Are 'We' Standing Now?" Commentator, American Studies Association, Pittsburg, October, 1995.
Speaker and Co-ordinator, "The Object in the Age of Theory," presented for the
Association of American Art Historians' Business Meeting, College Art Association, New York, February, 1994.
"A Regionalist Artist Paints a National Picture: Thomas Hart Benton's Sources of
Country Music," American Studies Association Kentucky-Tennessee Chapter, Monteagle, TN, March, 1994.
"Thomas Hart Benton's Sources of Country Music," 11th International Country Music
Conference, Meridian, MS, May 1994.
Moderator and commentator, "Mid-19th-Century Art in the Capitol," "Perspectives on the Art and Architectural History of the United States Capitol," The United States Capitol Historical Society, September, 1994.
"Maintaining and Crossing Boundaries: Thomas Hart Benton's Sources of Country Music," "Country Music and Working Class Culture," American Studies Association, Nashville, October, 1994.
Chair and commentator, "Gender Constructions in American Art," American Culture Association, New Orleans, April, 1993.
Chair, "Japan Through American Eyes: Three Americans in Search of Japanese Culture," American Studies Association, Boston, November, 1993.
Chair and commentator, "Reconstructing Columbus: Changing Visions of a National Myth," American Studies Association, Costa Mesa, CA, November, 1992.
Conference coordinator, "Transatlantic Encounters: The 'Discovery' of the New World and the Old," Robert Penn Warren Center for the Humanities, Vanderbilt University, October, 1992.
"Suspended Narratives in the Art of Edward Hopper," Narrative: An International Conference, Vanderbilt University, April, 1992.
Chair, "Narratives in the Visual Arts," Narrative: An International Conference, Vanderbilt University, April, 1992.
"Suspended Narratives in the Art of Edward Hopper," College Art Association, Chicago, February, 1992.
"Political Compromise in Public Art: Thomas Crawford's Statue of Freedom," College Art Association, New York, February, 1990.
"History and Myth: Randolph Rogers's Bronze Doors," American Studies Association Meeting, Toronto, November, 1989.
"Horatio Greenough's Rescue: Triumph of Civilization over Savagery," Midwest Art Historical Society, March, 1986.
"The Greek Slave: Visual Emblem of Freedom," Midwest Art Historical Society, March, 1980.
LECTURE COURSES TAUGHT:
Introduction to Art History
Art History Survey II
Nineteenth-Century European Art
American Art to 1865
American Art 1865-1945
American Art Since 1945
American Art and Architecture to 1900
Twentieth-Century American Art
Nineteenth-Century American Art and Literature
American Sculpture
Introduction to American Studies
SEMINARS TAUGHT:
Impressionism (Freshman writing seminar)
Images of Native Americans
American Landscape
Gender and Sexuality in American Visual Culture
American Art and Culture between the Two World Wars
Feminist Art and Art History
Pop Art and Culture
Postmodernism
Methods in Art History
Sexual Violence and Rape in American Culture
Race, Gender, and Sexuality in American Visual Culture
Société Anonyme (in conjunction with an exhibition at the Frist Center for the Visual Arts)
Georgia O’Keeffe and Her Times (in conjunction with an exhibition at the Frist Center for the Visual Arts)