MARA R. WITZLING
CURRENT STATUS:
Professor, Art and Art History and Women’s Studies
EDUCATION:
Cornell University, Ph.D., 5/78, Medieval Art, Modern Art, Theory/criticism
Cornell University, M.A., 5/70, Medieval Art, Modern Art
Queens College, C.U.N.Y., B.A., 1/67, English Literature, Art History
EMPLOYMENT:
9/77 – date Professor, Department of the Arts, University of New Hampshire
Durham, N.H (Instructor 9/77-5/78: Assistant, 6/78-6/83; Associate 6/83-6/93; Professor 6/93-date).
1/77 – 6/77 Visiting Instructor, Kirkland College, Clinton, N.Y.
9/74 – 6/75 Teaching Assistant, Department of the History of Art, Cornell University, Ithaca, N. Y.
1/74 – 6/74 Acting Assistant Professor, S.U.C. at Cortland, Cortland, N.Y.
9/71 – 6/73 Instructor, Department of Art, Johnson State College, Johnson, Vermont
9/69 – 6/76 Reader, Department of the History of Art, Cornell University, Ithaca, N.Y.
1/68 – 6/69 Curatorial Assistant, Prints and Drawings, A. D. White Museum of Art, Cornell University
ADMINISTRATIVE EXPERIENCE
8/04 – 6/05; Coordinator, Women’s Studies Program. University of New Hampshire
7/96 – 6/03
8/03 – 8/04 Resident Director, UNH London Program, Regent’s College
AWARDS:
10/02 University of New Hampshire, College of Liberal Arts, Teaching Excellence Award
FELLOWSHIPS AND GRANTS:
5/04-6/04 John W. Hatch Memorial Fellowships for College of Liberal Arts and Art Department Faculty
5/04-6/04 UNH, Council on International Education, Travel Grant
1/95-6/95 University of New Hampshire, Vice President for Research discretionary grant
9/94-12/94 University of New Hampshire, Center for the Humanities, Senior Fellowship
6/94-8/94 University of New Hampshire, Summer Faculty Fellowship
6/93-8/93 University of New Hampshire, COLA, Summer Faculty Fellowship Summer Fellowship
1/91-6/91 University of New Hampshire, COLA, Faculty support grant
6/90-6/90 University of New Hampshire, COLA, Faculty support grant
1/89-5/89 University of New Hampshire, Center for the Humanities, Gustafson Fellowship
6/87 – 8/87 University of New Hampshire, COLA, Faculty Summer Fellowship
2/85 – 5/85 University of New Hampshire, COLA, Faculty Support Grant
7/84 – 8/84 University of New Hampshire, Faculty Development Committee
6/80 – 8/80 University of New Hampshire, Summer Faculty Fellowship
9/76 – 8/77 Cornell University Graduate School, Continuing Humanities Fellowship
6/76 – 8/76 Dept. of History of Art, Cornell University, Goldring Travel Fellowship
9/75 – 8 /76 Dept. of History of Art, Cornell University, Samuel H. Kress Fellowship
1/68 – 6/69 Dept. of History of Art, Cornell University, Samuel H. Kress Fellowship
MASTER’S THESIS:
Witchcraft Motifs in Northern European Art of the Sixteenth Century Cornell University, 1970
DOCTORAL DISSERTATION:
An Archaeological Investigation of the Winchester Psalter, Cornell University, 1978.
PUBLICATIONS:
BOOKS:
Voicing Today’s Visions: Writings by Contemporary Women Artists, New York: Universe, 1994; London: The Women’s Press, 1995.
Mary Cassatt: A Private World, New York: Universe , 1991.
Voicing Our Visions: Writings by Women Artists, New York: Universe, 1991; London: The Women’s Press, 1992.
ARTICLES:
“Freedom to Say What She Pleases: A Conversation with Faith Ringgold,” (with Melody Graulich), National Women’s Studies Association Journal (Spring, 1994, special issue focusing on African-American women) Reprinted in Black Feminist Cultural Criticism, Jacqueline Bobo, ed., Blackwell Publishers, 2001.
.”Mutual Implications: A Recent Conversation with Nancy Graves,” Art New England, 15/1 (December 1993/January 1994), pp.31-32, 49.
Various exhibition reviews in Art New England, 1986-1996 (ca. 25).
“The Winchester Psalter: A Re-ordering of Its Prefatory Miniatures According to Scriptural Sequence,” GESTA, XXIII/1, 1984.
“No Exit: Structure and Organization in a Twelfth Century Last Judgement Cycle,” University of Ottawa Quarterly/Revue de l’Universite d’Ottawa, 52/2, 1982.
“An Archaeological Reconstruction of a Previous State of the Winchester Psalter,” GESTA, XVII/2, 1978.
BOOK CHAPTERS:
Encyclopedia of New England Culture, ed. Burt Feintuch and David Watters, New Haven, CT: Yale University Press, 2005: “Edmonia Lewis,” “New England Women and Art.”
Berkshire Encyclopedia of World History, Great Barrington, MA: Berkshire Publishing Group, 2005: “Art–Europe” (overview of 2000 years of European Art).
St James Guide to Contemporary Women Artists, Farmington Hills, MI: St. James Press, 2001: updates to 4 earlier entries written by other authors (Magdalena Abakanowicz, Louise Bourgeois, Niki de St. Phalle, Judy Chicago, Nancy Graves).
Concise Dictionary of Women Artists, London: Fitzroy, Dearborn, 2001. Editorial Consultant.
St James Guide to Contemporary Women Artists, ed., Laurie Hills Farmington Hills, MI: St. James Press, 1999: 5 entries (Emily Carr, Dorothy Dehner, Gwen John, Marianne Werefkin, Kiki Smith)
Dictionary of Women Artists, ed, Delia Gaze, London: Fitzroy Dearborn, 1997: “Why a Dictionary of Women Artists at this Time?”(general introduction); “ Feminism and Art History” (period survey),”Barbara Chase-Riboud”, “Audrey Flack”, “Faith Ringgold”, “Monica Sjöö” (entries on individual artists); member, advisory panel.
“With Reluctant Feet:” The Meeting of Childhood and Womanhood in Works by Women Artists,” Politics, Gender and the Arts, Ronald L. Dotterer and Susan Bowman, eds., Susquehanna University Studies,1992.
“Through the Flower: Judy Chicago’s Conflict Between the Male Model of Artist-Hero and a Woman- Centered Vision” in Writing the Woman Artist, Suzanne Jones, editor, Philadelphia: University of Pennsylvania Press, 1991.
REVIEWS:
Review of Jacqueline Burckhardt and Bice Curiger, Meret Oppenheim: Beyond the Teacup (Independent Curators, New York, 1996) for Women’s Art Journal, vol. 20, no. 1 (Spring 1999).
Review of Robert Belton, The Beribonned Bomb: The Image of Woman in Male Surrealist Art (University of Calgary, 1995) for Women’s Art Journal, vol 19, no. 1 (Spring 1998).
Review of Bridget Elliott and Jo-Ann Wallace, Women Artists and Writers: Modernist (Im)positionings (Routledge, 1994) for Women’s Art Journal, vol 19, no. 1 (Spring 1997).
“The Gendering of Modernism”, Art History, vol 19, no. 4 (December, 1996)
Review of Mary Ann Caws, Rudolf Kuenzli, and Gwen Raaberg, Surrealism and Women (Cambridge, MA. and London: The MIT Press, 1990), for Women’s Art Journal, vol. 16, no. 1 Spring, 1995).
CURRENT PROJECT:
The Gendered Artist: Dilemmas of Artistic Authority, ongoing, book-length research endeavor.
CURATED EXHIBITIONS:
“Looking Back/Facing Forward: NH Women’s Caucus for Art 10th Anniversary Show” — Exhibition at The McIninch Art Gallery, Southern New Hampshire University, Manchester, NH.,
February-March, 2005.
“Religion: Contemporary Interpretations by Women” featuring the work of five contemporary women artists for whom religious imagery is an important and central part of their oeuvre — Exhibition at The Art Gallery, University of New Hampshire, January – March, 2000, a part of Women and Religion in the Year 2000, Saul O. Sidore Initiative.
“ARTICULATE”– Exhibition at the Mary Delahoyd Gallery, New York, of the works by the 14 artists included in Voicing Today’s Visions. December 1994-January 1995.
“The Art of the Book,” — Exhibition at The Art Gallery, University of New Hampshire, January –March, 1983.
SELECTED PRESENTATIONS:
“Quilt Language: Towards a Poetics of Quilting,” a talk presented at Women, Art and Culture: Historical Perspectives 14th Conference of Women’s History Network (UK), September 2005, Southampton, UK.
Panel Moderator: “Looking Back/Facing Forward: NH Women’s Caucus for Art 10th Anniversary Show” — Exhibition at The McIninch Art Gallery, Southern New Hampshire University, Manchester, NH., March 2005.
Panel Moderator: “Religion: Contemporary Interpretations by Women” featuring the work of five contemporary women artists for whom religious imagery is an important and central part of their oeuvre — Exhibition at The Art Gallery, University of New Hampshire, January – March, 2000, a part of Women and Religion in the Year 2000, Saul O. Sidore Initiative, February 2000.
“The Gendered Artist: Sexual Difference and the Artistic Persona,” a talk presented at the University of Rhode Island, sponsored by the Department of Art, the Women’s Studies Program, the URI Honors Program, the Visiting Scholars Committee, Kingston, R.I, October, 1999.
“Transformation and Power: African American Artists as Activists,” a talk presented at Winchester School of Art, University of Southampton, Winchester, UK, April, 1999.
Invited Reader, Friends of the Wolfeboro Library, Book and Author Luncheon, May, 1996.
“Women Artists and Voice” presented to the Women’s Caucus for Art, Manchester, N.H., June 1995.
” ‘A Woman With Love in Her Life:’ The Conflict Between ‘Woman’ and ‘Artist in Gwen John’s Letters to Rodin,” presented at the conference on Woman, Image, Text.” at Sheffield Hallam University, Sheffield, UK, November, 1993.
“Piecing this World Up Right: Faith Ringgold and the Transformative Power of Women’s Art,” (with Melody Graulich), KEYNOTE SPEECH, Women, Art, Society, Eighth Annual Maine Women’s Studies conference, Farmington, Maine, April 1993.
“Women Artists and Idealism: Käthe Kollwitz and Elizabeth Catlett,” a talk presented to the Honors Program, New Hampshire College, Manchester, N.H., February, 1993
“My Beautiful, My Unique, My Self, My Muse: Werefkin’s ‘Inconnu’ and the Appropriation of Artistic Authority by Women Artists,” a paper presented at the College Art Association Annual Meeting, Seattle, WA., February 1993.
“The Gendered Artist: Sexual Difference in the Writings of Two Turn-of-the-century Painters,” a talk presented to the Art History and Women Studies Programs, University of Rhode Island, Kingston, R.I., October, 1991.
“Looking High and Low: Harriet Powers’ Bible Quilt and the Sistine Chapel Ceiling,” a paper presented at the College Art Association Annual Meeting, New York, February 1990 .
“With Reluctant Feet:” The Meeting of Childhood and Womanhood in Works by Women Artists,” a paper presented at the conference on Women, the Arts, Society, Susquehana University, Selinsgrove, PA., November, 1988.
“Our Own Image: Women Artists and the Creative Force,” a lecture presented to the Durham Unitarian Universalist Fellowship, December, 1986.
Panel Chair, “Feminism and Art History,” at How is Art History?, a conference sponsored by the New England Land Grant Universities Council of Presidents, Amherst, Mass., April 1986.
“Our Bodies (Painted by) Ourselves,” a paper delivered at the New England Women’s Studies Association conference, Boston, Mass., March 1985.
“The Jaws of Hell; Eternal Damnation Materialized in12th Century Psalters,” a paper delivered to the Third Medieval Forum, Plymouth State College, Plymouth, N.H., April 1982.
“Monastic Women as Manuscript Illuminators: The Case for the Shaftesbury Psalter,” a paper delivered at the Second Medieval Forum, Plymouh State Coll.,Plymouth, N. H., April 1981.
“A Reconstruction of the Prefatory Miniature Sequence in the Winchester Psalter,” a paper delivered at the 14th Int. Congress on Medieval Studies, Kalamazoo, Michigan, May, 1979.
Mara Witzling 