2005          Ph.D. Brown University, History of Art and Architecture, advisor K.S. Champa

1997           M.A. with distinction, Brown University, History of Art and Architecture

1994           B.A. University of Wisconsin-Madison, Russian Literature and Art History


2019–20    Adjunct Faculty in Liberal Arts, Laguna College of Art and Design

2014– present        Part-time Lecturer in Art History, School of Art, College of the Arts, CSULB

2014–15     Research Associate, Department of Art History, UC Irvine

2011–14    Visiting Assistant Professor of Art History, Herberger Institute for Design and the Arts, Arizona State University

2009–11     Assistant Professor in Art History Waseda University, SILS, Tokyo, Japan

2008–09    Honorary Research Associate, Art History Department, Faculty of Letters, University of Tokyo

2008–09     Temple University, Japan Campus: Adjunct Faculty in Art History

2007–08     Pastoral Tutor, Ustinov College, Durham University, UK

2006–08    Honorary Research Associate, School of Modern Languages & Cultures, Durham University, UK

2005            Visiting Assistant Professor, Department of Fine Arts, Syracuse University

2002–04     Instructor, Summer Studies, Brown University

2001             Teaching Fellow, Department of Slavic Languages and Literatures, Brown University

1998-2001  Teaching Assistant, Department of Art History and Visual Culture, Rhode Island School of Design

1999-2000  Teaching Assistant, Department of the History of Art and Architecture, Brown University


2012           Getty Library Research Grant (project: “All Art No Fame: The Countercultural Case of Wally Hedrick”)

2011–12      ASUSU Centennial Professor Award Nomination

2002–03     Salomon Dissertation Fellowship, Brown University

2002            College Art Association Professional Development Fellowship Honorable Mention

1996             Internship, National Gallery of Art (Washington D.C.), Curatorial Department, 20th-century Art, June–August

1995–96      Graduate Fellowship, Brown University

1994              Internship, State Hermitage Museum (St. Petersburg, Russia), May–June

1994              Zillman Summer Fellowship Award (Phi Kappa Phi), UW-Madison


• Word and image studies

• Art Criticism in context

• Artist biographies, art in exile and artistic identities

• Contemporary art

• California art after 1950 and Beat art

• European modernism and Fin de Siècle art

• Russian, Soviet, Russian émigré and Post-Soviet art

• Romanticism and its legacy


2011      Beyond Symbolism to Surrealism: Alexei Remizov’s Synthetic Art, Northwestern University Press. 235 pages, 16 color & 46 b/w illustrations


2016        Dustbunnies: Dave Hickey’s Online Aphorisms.June 2014­­–March 2015.PCP Press. 586 pages. (Reviewed in Times Literary Supplement, May 27, 2016, pp. 23-24. “Everyone’s a critic,” by David Hawkes)

2016      Wasted Words: The Essential Dave Hickey Online Compilation. PCP Press. 124 pages. (Reviewed in Times Literary Supplement, May 27, 2016, pp. 23-24. “Everyone’s a critic,” by David Hawkes)


2022       “Isteriia po-siurrealistki” (“Hysteria: The Surrealist Case,”) Aleksei Remizov: Issledovaniia i materialy(Aleksei Remizov: Research and Materials). Edited by Alla M. Gracheva, Russian Academy of Sciences, forthcoming

2008        “The Writing-Drawing Continuum of Alexei Remizov,” Elective Affinities. Word & Image Interactions 6. Edited by Catriona McLeod, Véronique Plesch and Charlotte Schoell-Glass. Amsterdam and Atlanta: Rodopi

2003        “Ot teksta i izobrazheniia k zvuku: rukopisnyi al’bom “Marun” kak primer sinteticheskogo tvorchestva Alekseia Remizova” (“From Text and Image to Sound: the Album “Marun” As an Example of Alexei Remizov’s Synthetic Art”). Aleksei Remizov: Issledovaniia i materialy  (Aleksei Remizov: Research and Materials). Edited by Alla M. Gracheva and Antonella d’Amelia, St. Petersburg-Salerno: Russian Academy of Sciences/Institute of Russian Literature

1999           “Between a Rock and a Hard Place: Holy Rus’ and Hard Cash in Post-Soviet Rock Music,” co-author. In Consuming Russia: Popular Culture, Sex, and Society Since Gorbachev. Edited by Adele Barker, Duke University Press


2021         “A Masterwork: Thiebaud’s One Hundred-year-old Clown,” in Wayne Thiebaud: Clowns, Laguna Art Museum, December 6, 2020–April 4, 2021

2020           “Nothing is Unimportant,” catalogue essay, in Wayne Thiebaud 100: Paintings, Drawings and Prints, Pomegranate Press, Crocker Museum of Art

2018        “Annie Lapin: The Archeology of Meaning,” Miles McEnery Gallery, September 2018

2017         “Sexual Neurosis or Creative Catalyst? Hysteria and Demonic Possession in Alexei Remizov’s Solomoniia,”in Mental Illness in Symbolism. Edited by Rosina Neginsky. Cambridge: Cambridge Scholars Press

2012        “Merezhkovsky’s Leonardo,” The Lives of Leonardo. Edited by Thomas Frangenberg and Rodney Palmer, Warburg Institute Colloquia 22

2010          “A Powerless Seeker: Merezhkovsky’s Romance as Life-Writing,” in Symbolism, its Origins and Consequences. Edited by Rosina Neginsky. Cambridge: Cambridge Scholars Press


2021           “A Treasure Trove of Priceless Pornography,” Quillette, July 31

2021           “Digital Art NFTs: The Marriage of Art & Money,” Athenaeum Review, April 13

2020           “Philip Guston (Not) Now: The Impact Argument,” Athenaeum Review, November 16

2020           “In Defense of Lecturing,” Athenaeum Review, October 15

2020           “Classicism by Decree,” Athenaeum Review, Issue 5

2012         “The Invisible Cosmology of Chihiro Kabata,” Glossary, vol. 1, Edited by Charles Merewether. Institute of Contemporary Art, Singapore

2010         “Alexei Remizov’s Creative Act,” Interfaces: Image Text Language, vol. 29. Edited by Maurice Geracht and Frédéric Ogée

2007          “Cézanne and the Poetics of Metonymy,” Word & Image, 23 (3), July–September

2003       “Blok’s ‘Gift of Hearing’ Through Remizov’s “Audible Colors,”” Slavic and East European Journal, Volume 47, Number 3 

1996          “Melancholia II: An Interview with Manel Llèdos,” Graven Images: Studies in Culture, Law, and the Sacred, Volume 3

1995           “On the Iconography of ‘From Many Wounds You Bleed, O People’: An Intersection of Art and Literature,” The Print Collector’s Newsletter25: 6


2020        Camille Paglia, Provocations. Kropf, 2018. Athenaeum Review, Issue 3 (Winter 2020), “The Last Call,” 172–177

2008       Oleg BrezginPersona Diagileva v khudozhestvennoi kul”ture rossii, zapadnoi evropy i ameriki. Bibliographia.Perm’: 2007 (“Diagilev’s Persona and the Artistic Culture of Russia, Western Europe and the United States. A Bibliography”), book review, SEEJ52.3 (Fall)

2007         “Crossing the Boundaries: Alexei Remizov’s Artistic Space,” “Oni unesli s soboi Rossiiu,” (“They Carried Russia to Exile”), Symposium on the 65thanniversary of The New Review, Harriman Institute, Colombia University, The New Review

2005        Michael Urban with Andrei Evdokimov, Russia Gets the Blues:  Music, Culture, and Community in Unsettled Times(Cornell, 2004), book review, Canadian Slavonic Papersvol. 48, nos. 3-4

2001       “Vospriiatie fovizma i kubizma v russkoi kritike kontza deviatnadzatogo, nachala dvadzatogo veka.” (“The Reception of Fauvism and Cubism in Turn-of-the-Century Russian Criticism”) Norwich Slavic Conference Proceedings, Konetz veka kak kul’turnyi fenomen (The End of a Century as a Cultural Phenomenon)


2014           Tom of Finland, PICKS, 02.12

2013           Iva Gueorguieva, PICKS, 09.23

                  “Painting,”PICKS, 01.05

2012          Tsibi Geva, PICKS, 09.15

                  Lawrence Weiner, PICKS, 06.06

                  “The Economy of Means,” PICKS, 03.14

                  “Requiem for the Sun: The Art of Mono-ha,” PICKS, 03.10

2011          Juan Downey, PICKS, 10.15.11

                  Dmitrii Prigov, in print, October 2011

                  Paul Gaultier, PICKS, 09.10.11

                  “Venice in Venice,” PICKS, 06.07.11

                  Paul Kos, PICKS, 05.04.11

                  Xavier Veilhan, PICKS, 04.07.11

                  LG Williams/Estate of LG Williams, in print, May 2010

                  Aki Sasamoto, PICKS, 01.17.11

2010         Taiji Matsue, PICKS, 11.04.10

                  Yuuki Matsumura, in print, October 2010

                  “Nanugi Agency, PICKS, 09.15.10

                  Nobuyoshi Araki,in print, September 2010

                  William Eggleston, PICKS, 07.10

                  Miwa Yanagi, in print, May 2010

                  Tamotsu Ikeya, in print, March 2010

                  Ohad Matalon, PICKS, 04.08.10

                  MeeNa Park, PICKS, 03.03.10

                  Kosuke Ichikawa, PICKS, 01.21.10

2009       Shinro Ohtake, PICKS, 11.08.09

                 Seiji Aruga, PICKS, 10.15.09 


2014           “On Abstraction, Ed Moses, and the Need to Explain”

2014           “Dave Hickey in Los Angeles: Pirate vs. Farmers”

2013           “Miley Cyrus Strikes Again, or the Destruction of the Pendulum”

2013           “From Raku-Fired Vessels to Large-Scale Installations: Wayne Higby’s Ceramics Retrospective at the ASU Art Museum”

2012           “Le Prix Marcel Duchamp récompense-t-il la créativité?”

2012           “Art in ‘Paradise’ (Far From the Art-Industrial Hive)”

2011           “The School of Things”: Japanese Art c. 1970 Comes to Los Angeles 

2011           “Turkey with the Side of Ajax: Thanksgiving According to Alice Neel”


2021      “A cleaner slate,” The New Criterion, March 2

2020      “Past continuous,” The New Criterion, November 14

2020       “The most dangerous place to be,” co-authored with David Hawkes, The New Criterion, August 27

2020     “Why words matter,” The New Criterion, June 2

2019     “There ought to be clowns,” The New Criterion, vol. 38, no. 4 (December)

2019    “Hour of the clown,” The New Criterion, June 20

2019      “Ok, Cupid?,” The New Criterion, May 16

2018     “’Happy trees’ and culture-death,” The New Criterion, October 24

2018      “You are what you read,” The New Criterion, June 12

2018      “Tony DeLap at the Laguna Art Museum” The New Criterion, May 10

2018       “The user-centric university,” The New Criterion, April 25

2018        “Paint it black,” The New Criterion, vol. 36, no. 8 (April)

2018        “Make art history great again: crowdsourcing and the mechanics of publicity,” The New Criterion, February 2

2018        “A warning about the Balthus warning,”The New Criterion, January 05

2017      The art world’s ‘hidden enemy’,” The New Criterion, vol. 36, no. 4 (December)



Laguna Art Museum, Laguna Beach, CA. “Forever Landscape” lecture cycle, November-December

Laguna Art Museum, Art and Nature festival, opening lecture, October 31


Laguna Art Museum, Laguna Beach, CA. Docent training. Modern Art lecture cycle, November-March


“Decadence is Where it All Started,” OCMA, Visionaries lecture cycle, 6 lectures, Spring

“Realism, Photography and Visual Truth,” OCMA, Visionaries lecture cycle, 6 lectures, Fall


“Romanticism and its Consequences,” OCMA, Visionaries lecture cycle, 6 lectures, Winter

 “Contemporary Art: 1978–2018,” OCMA, Visionaries lecture mini, 6 lectures, Spring 

“Art in the Society of the Spectacle,” OCMA, Visionaries lecture cycle, 6 lectures, Winter


Laguna Art Museum, Laguna Beach, CA. Docent training. Modern Art lecture cycle, September-January


Orange County Museum of Art, Newport Beach, CA. Docent training. Modern Art lecture cycle, June-August


Phoenix Art Museum, “Sexuality and Violence in Early Modernist Art,” November 30



Crocker Art Museum, Sacramento, CA. “Three Takes on Thiebaud” in conjunction with Wayne Thiebaud 100: Paintings, Prints, and Drawings retrospective, December 5, panel participant


DiRosa Collectors’ Forum “The Countercultural Case of Wally Hedrick,” June 26

Hammer Museum, UCLA, in-conversation event with Dave Hickey, May 11

Site Sant Fe, in-conversation event with Dave Hickey, April 15

Scottsdale Museum of Contemporary Art, “From Printed Page to Facebook Page and Back: Dave Hickey’s Digital (Mis)adventures,” March 31, invited lecture

CAC Las Vegas, March 5, in-conversation event with Dave Hickey


UCI Department of Art History, “Chihiro Kabata and ChimPom respond to Tohoku and Fukushima Disasters,” June 2, invited lecture


ASU Origins Project, “Gustave Courbet’s ‘The Origin of the World’: a Positivist Statement or a Libertine Dream?,” April 7, invited lecture


Salon Spirit of the Senses, “Alexei Remizov,” November 9, invited lecture

Salon Spirit of the Senses, “West Coast Art 1950–2013,” April 20, invited lecture


ASU Museum Herberger Institute Visiting Faculty Series, Current Research Presentation, April 13


The Courtauld Institute of Art, Research Forum Autumn Term 2011, “Alexei Remizov’s Creative Method,” November 24, invited lecture

University of Oregon, Eugene, “Alexei Remizov’s Creative Method,” November 11, invited lecture

Stanford University, Slavic Colloquium Lecture Series, “Alexei Remizov’s Creative Method,” May 4, invited lecture

Arizona State University, Department of Fine Arts, “Art Today” lecture, March 28, invited lecture


Waseda Institute for Advance Study, “Materiality in Contemporary Japanese Art,” November 10, invited lecture


Seminar participant, “Teaching M. Bakhtin,” AATSEEL, Philadelphia, December 28


Ustinov College Research Seminar, Durham University, UK, June 28, invited lecture

Department of Russian and Slavonic Studies, University of Nottingham, “Alexei Remizov’s illustrated albums,” February 4, invited lecture


Seminar co-leader, “Borders of European Modernism,” 9thAnnual Conference of the Modernist Studies Association (MSA), USC, Long Beach, November 1–4 

“Merezhkovsky on Leonardo,” Author as Critic, BASEES 20thcentury literature group, Oxford University, September 21–22, invited lecture

“From parsunas to the ‘Black Square’ in 200 years,” series of three invited lectures for the Introduction to Russian Culturemodule RUSS 1151, 25 January, 8 February, March 15



“Sleepers Redux and the Dilemma of Viewing,” for the panel Experimental Engagements in Desire, 33rdAnnual Meeting of the Society for Literature, Science, and the Arts (SLSA), November 7

Remizov Symposium, Amherst College, “О сонной многомерности, безобразии и Эвклиде,” “On the Fourth Dimension, Chaos and Euclid,” August 12–17


Association for Slavic, East European, and Eurasian Studies (ASEES) Annual Convention, “Remizov vs. Kandinsky: When Words are not Enough,”for the panel Dreamworlds and Imagetexts: Revolutionary Conjunctures between Literature and Visual Media, Boston, November 25

XXth Congress of the International Comparative Literature Association (ICLA), “Hysteria as a Creative Condition in Alexei Remizov’s Solomoniia,”for the panelLe mouvement symboliste et les maladies mentales, July 18–24

College Art Association (CAA) Annual Conference, “Between Awe and Anger: Young Japanese Artists Respond to Tohoku and Fukushima,” for the panel Disaster and CreativityNew York, February 15


“From Pious to Lubricious: The Tale of a Reluctant Wife,”IAWIS/AIERTI 9th International Conference of Word & Image Studies: L’imaginaire / The Imaginary, Montreal, CA, August 22–26


“Tales from the Fourth Dimension and the Cultivation of Dreams,”for the panel Dreams, Illusions, and Russian Modernist Aesthetics, AAASS annual conference, Los Angeles, November 18–21


“Life into Fiction, Fiction into Life: the Love and the Sin of Alexei Remizov,” for the panel Living Fiction(organizer), AAASS annual conference, Boston, November 12–15      

“Alexei Remizov’s Creative Act,”plenary talk, International Word and ImageConference (IWIC), College of the Holy Cross, 24–26 June


“Manuscript Comics? Alexei Remizov’s Graphic Experiment,”9thAnnual Conference of the Modernist Studies Association (MSA), UC, Long Beach, November 1–4         

“The Modernist Games of A. Remizov,” BASEES Annual Conference, Fitzwilliam College, Cambridge University, 31 March–2 April

“Hysteria as Creativity,” The Institute of Russian Literature International Symposium Alexei Remizov and World Cultureorganized by Russian Academy of Sciences, St. Petersburg, October 4–6


“Beyond Christianity and Paganism: Merezhkovsky’s Leonardo,” Leonardo da Vinci Society Symposium: Lives of Leonardo, Warburg Institute, London, September 15

 “Dispensing with Metaphor: Cézanne’s ‘Large Bathers,’” Interdisciplinary Nineteenth-Century Studies (INCS) Conference, Durham University, July 6–9


Presented at the “Author Business” seminar, 7thAnnual Conference of the Modernist Studies Association (MSA), Loyola University, Chicago, IL, November 3–6

“Flourish as the Hook: From Ornamental Texts to Non-Ornamental Drawing,” IAWIS/AIERTI 7th International Conference on Word & Image Studies: Elective Affinities, University of Pennsylvania, PA, September 23–27


“The ‘Change of Instruments’ and Other Excuses: Alexei Remizov as a Drawing Writer,” 56thAnnual KFLC conference, University of Kentucky, Lexington, KY


“A Modernist Scribe? Remizov’s Illustrated Albums and Russian Manuscript Art,” Third Annual NSGSA Conference, Brown University, Providence, RI


“The Threshold Art of A. Remizov,” AATSEEL annual conference, New Orleans, LA

“Vospriiatie favizma i kubizma v russkoi kritike kontza 19go, nachala 20go veka.”  (“The Reception of Fauvism and Cubism in Turn-of-the-Century Russian Criticism”) Norwich Slavic Conference “The End of a Century as a Cultural Phenomenon,” Middlebury College, VT


“Shamanism and Modernism: Remizov’s Siberian Tale,” VI ICCEES World Congress, Tampere, Finland


“A Call for Unity: On the Ecumenical Theme in the Bronckhorst-Bosschuyse Triptych,” Sixteenth-Century Studies, Atlanta, GA


  • Art History Survey: Renaissance to Contemporary(introductory lecture course)
  • Costume in Painting(introductory lecture course)
  • Art of the 20thCentury I(introductory/intermediate lecture course)
  • Romanticism in the Arts 1790-1907 (intermediate lecture course)
  • Nineteenth Century Art and Visual Culture(intermediate lecture course)
  • Early 20thCentury Art(intermediate lecture course)
  • Russian Avant-Garde(intermediate lecture course)
  • From Paris to Oslo: European Art 1850–1900(advanced lecture course)
  • Art in Europe and America after 1945(advanced lecture course)
  • European Avant-Garde1900–1925 (advanced lecture course)
  • Art of Romanticism,(seminar)
  • Reading and Writing Art History: Methodology and Practice (seminar)
  • Russian Modernism in the Arts1890–1930 (seminar)
  • Russian Conceptualism 1960–Present (seminar)
  • Beat and Beyond: San Francisco Art 1950–2000,(seminar)
  • West Coast Art 1950–2013 (seminar)
  • Theories of Contemporary Art (seminar)
  • Art and Design Criticism (seminar)


2012           Phoenix Art Museum, juried Contemporary Art Forum Awards for 2012 in mid-career and emerging artists, April 16

2012           Herberger Institute for Design and the Arts, Harry Wood Gallery, juried the Summer Show April 14

2009–11     College Admissions Committee, School for International Liberal Studies, Waseda University

2009–11     Entrance examination grader and proctor, School for International Liberal Studies, Waseda     University                   


2016           Jamie Brooks Gallery, Costa Mesa, CA, Curated Forrest Solis: Sleepers Reduxexhibition, September 15–October 26

2011           Institute of Contemporary Art, Singapore ICAS. Curated the exhibition Chihiro Kabata: flight/fear/fleeting. April 7–May 6, Singapore

2011             The Container, Tokyo, Japan. Curated Anything But, exhibition of LG Williams/Estate of LG Williams,June 6–August 30

2000           Gallery Proctor, RISD Museum, Department of Prints and Drawings, Spring Term

1997           Curatorial Assistant, Bell Gallery, Brown University, 1996–1997. Curated the exhibition State vs. Individual: A Selection of Soviet Posters from the Bell Gallery, Brown University, January 31–March 14

1996           Intern, National Gallery of Art Washington DC, Curatorial Department, 20th-century Art. Wrote the wall texts for the exhibition Picasso: The Early Years, June–August

1996           Co-curated an exhibition of Chinese pottery held at the Rhode Island School of Design Museum, entries on Cizhou ware, April–July

1994           Intern, State Hermitage Museum St. Petersburg, Dept. of Northern European Prints, May–June

1991–94     Gallery Assistant, Spaightwood Galleries, Madison, WI


AAH (Association of Art Historians)

AHSC (Art Historians of Southern California)

CAA (College Art Association)

IAWIS (International Association of Word & Image Studies)

MSA (Modernist Studies Association)

The Society of Historians of East European and Russian Art and Architecture (SHERA)