JOHN ROBERT STOMBERG EDUCATION Boston
University, Boston, Massachusetts: -Ph.D.
in Art History, May 1999. Dissertation:
Art and Fortune: Machine-Age Discourse and the Visual Culture of
Industrial Modernity -Master
of Arts in Art History, May 1990. Thesis:
Re-creation and the Role of Technology in the Pastels of Morton Livingston
Schamberg Georgetown
University, Washington, DC -Bachelor
of Arts in Art History, May 1987. Thesis:
The Architectural Portraiture in the TrŽs Riches Heures du Duc de Berry SCHOLARSHIPS AND
AWARDS Goethe-Institute,
International Curatorial Travel Award, 2002 Goethe-Institute,
International Curatorial Travel Award, 2001 Deutscher
Akademischer Austauschdienst, Goethe-Institute Scholarship, 1991 Boston
University, Boston, Massachusetts: Humanities
Foundation Award, 1998 Henry
Luce Foundation Institutional Grant, 1998 Kate
and Hall Peterson Grant: 1993 and 1996 The
Graduate School Prize for Excellence in Teaching, 1991/92 Katherine
Bell Scholarship: 1991/92 Teaching
Fellowship: 1990/91 Graduate
Assistantship: 1989/90 Alumni
Fellowship: 1988/89 Georgetown
University, Washington, DC: The
David Lloyd Kreeger Prize in Art History, 1986/87 University
Scholarships: 1985/86 and 1986/87 CURRENT POSITIONS Williams
College Museum of Art (since August 2002) -Deputy
Director and Senior Curator for Exhibitions, Specific
responsibilities include chairing Exhibitions Committee, which plans every aspect
of the exhibitions, as well as publicity and public relations, educational
programming, community outreach, budget development and maintenance, staff
supervision, long-term planning, loan negotiations, collections. Williams College Art Department
(since January 2005) -Lecturer
in Art Participate in team-taught survey of Western
Art History (Art 102) PUBLICATIONS With Anna
Hammond, et al., ÒThe Role of the University Art Museum and Gallery,Ó Art Journal 65 (Fall 2006): 20-39. ÒCommandeering
the Road to Hell: A 1930s Legacy,Ó in Mark Reinhardt, Holly Edwards, and Erina
Duganne, eds., Beautiful Suffering: Photography and the Traffic in Pain.(Chicago:
University of Chicago Press, 2006). ÒLife Magazine,Ó
ÒAugust Sander,Ó and ÒFrank Gohlke,Ó Encyclopedia of Twentieth- Century
Photography. (New York:
Routledge Reference Publications, 2006). Changing
Times: New England in the Photographs of Verner Reed. (Boston: Historic New England, 2004). ÒGeorge Nick:
Existential Realism,Ó in George Nick: An ArtistÕs Conscience. (Concord, MA: Concord Art Society, 2004). ÒThe Williams
College Museum of Art,Ó American Art Review (May-June 2004): 170-179. ÒThe Work of
Being Artists,Ó Bostonia
(Spring 2003): 9-15. "From
Downtown to Doughnuts: Realism and the Role of Image in Boston Area Painting,
1950-2000." In Rachel Lafo and Nicolas Capasso, eds., Painting in Boston,
1950 - 2000. (Lincoln,
MA: DeCordova Museum; Boston: University of Massachusetts
Press, 2002). ÒHarold Tovish:
Forming Metaphysics.Ó Bostonia
(Spring 2002). ÒProvincetown
1949.Ó In Aaron Schmidt and John Stomberg, Jules Aarons: Provincetown
Photographs (Boston:
Boston Public Library, 2002). Looking East:
Brice Marden, Michael Mazur, Pat Steir.
(Boston: Boston University Art Gallery;
Seattle: University of Washington Press, 2002). "Stacey
Rosende: Painting and the Affirmation of Hope." In Dorothy Cowden ed.,Stacey
Rosende. (Tampa: Scarfone/Hartley Galleries,
University of Tampa, 2001). "Colossal
Remnants : The Art of
Romare Bearden." Bostonia
(Spring 2001): 13-18. "Ben
Shahn's New York: The Photography of Modern Times, An Exhibition Review." Winterthur
Portfolio 35
(Summer/Autumn 2000): 189-203.
"A Delicate
Balance: The Art of Michael Mazur." Art New England (April2000): 26-27, 75. "Ulrich
Mack's Inselnmenschen and the Legacy of the Photographic Book." In JŸrgen Blankenburg,
John Stomberg, and Eelco Wolf, Ulrich Mack's "Island People." (Boston: Boston University and Pasadena:
Curatorial Assistance, 2000). George Nick,
Recent Paintings.
(Boston: Gallery Naga, 2000). "Josef
Albers in Black and White: An Overview." In Karen Haas, Brenda Danilowitz,
and
John Stomberg, Josef Albers in Black and White. (Boston: Boston University Art
Gallery; Seattle: University of Washington Press, 2000). The World as
Mirror: Paintings by Jon Imber, 1978-1998. (Boston: School for the Arts,
Boston University and Boston University Art Gallery, 1999). Power and
Paper: Margaret Bourke-White, Modernity and the Documentary Mode. (Boston: Boston University Art Gallery; Seattle: University of Washington
Press, 1998). A Theater of Recollection:
Paintings and Prints by John Walker.
(Boston: Boston University
Art Gallery; Seattle: University of Washington Press, 1997). "Margaret
Bourke-White." In Catalogue of the Collection. (Andover, MA: Addison Gallery
of American Art. 1996). "Industry,
Photography and 'The United States of the World.'" In Kim Sichel, John Stomberg,
and Judith Bookbinder, From Icon to Irony: Industrial Photography in Germany and America. (Boston: Boston University Art Gallery,
Seattle: Universityof
Washington Press, 1995). PAPERS PRESENTED
(selected) ÒVerner Reed and
the Idea of New England,Ó New Hampshire Historical Society, 11 December 2005. ÒSuffering and
Style in 1930s American Photography,Ó Boston University, 2 December 2005 ÒMargaret
Bourke-White: American Icon,Ó Darien Community Association, 6 October 2005. ÒAn Absurd
Remove: Memory and War in John WalkerÕs Recent Art,Ó Montserrat College of Art,
Beverly, MA, 26 September 2003. "Thriving
from Neglect? The Art Museum and Academe," College Art Association, Annual
Conference, Philadelphia, 21 February 2002. "Affirmations
of Hope: Painting since Pollock," Scarfone/Hartley Galleries, University of
Tampa, Tampa, 25 October 2001. "Power and
Paper: Margaret Bourke-White, Modernity, and the Documentary Mode,"
Rhodes College, Memphis, 10 February 2000. "Art and
Fortune: The Construction of a Visual Culture for Industrial Modernity," The
International Center for Photography, New York, 23 March 2000. "John
Walker and the Theater of Recollection," Nesto Gallery, Milton Academy, Milton, MA, 12
April 2000. "Margaret
Bourke-White: Political Conscience and Corporate Visual Culture," University of
Maryland, Baltimore, 28 September 2000. PROFESSIONAL
EXPERIENCE Boston University
(Part-time 1989-1995; Full-time 1995-2002)
Art
Gallery: -Director, 1998-2002; Assistant Director,
1995-1998; Guest Co-Curator, 1994-1995; Guest
Curator, 1991. Art
History Department, College of Arts and Sciences: -Adjunct Assistant Professor, 2000-2002;
Instructor, 1992-1999; Teaching Assistant, 1989-1991. Graduate
Painting Program, College of Fine Arts: -Instructor,
1999-2002. Photographic
Resource Center, Board of Directors: -Exhibitions Committee Chairman,
2000-2003 University of
Massachusetts, Boston Fine
Arts Department: Instructor, 1990-1993 Northeastern
University, Boston Department of Art and Architecture,
Instructor, 1990-1993 Museum of
Fine Arts, Boston Education
Department, Lecturer, 1990-1993 Painting
Department, Intern, 1991 The Currier
Gallery of Art, Manchester, NH Education
Department, Education Associate, 1989-90 Venable
Neslage Galleries, Washington, DC: Gallery Director, 1987-88 EXHIBITIONS
CURATED Beautiful
Suffering: Photography and the Traffic in Pain. Co-Curated with Mark Reinhardt, Holly Edwards, Stefanie Spray
Jandl, and Erina Duganne. Williams College Museum of
Art, 2006 Mergers and
Acquisitions: The Gift of Sigmund R. Balka, Class of 1956, and the Permanent Collection. Williams College Museum of Art, 2006 Hot Printing:
The Late Work of H. N. Werkman.
Williams College Museum of Art, 2004 Changing
Times: New England in the Photographs of Verner Reed, 1950-1970 Commisioned
by Historic New England, Boston, 2004
Looking East:
Brice Marden, Michael Mazur, Pat Steir.
Boston University Art Gallery, 2002
Ulrich Mack's
Island People. Traveling
exhibition organized by Curatorial Assistance, Pasadena,
CA, 2000/01. The World as
Mirror: Paintings by Jon Imber, 1978-1998. Boston University, 1999 Dorothea
Tanning: Still in the Studio.
Boston University Art Gallery, 1999 Boston
Artists and the Big Dig.
Co-curated with Karen Haas, Boston University Art
Gallery, 1999 Power &
Paper: Margaret Bourke-White, Modernity and the Documentary Mode. Boston
University Art Gallery, 1998 A Theater of
Recollection: Paintings and Prints by John Walker. Boston
University Art Gallery, 1997 Contemporary
European Photography from the Polaroid Collection. Boston
University Art Gallery, 1996 From Icon to
Irony: American and German Industrial Photography. Co-curated
with Kim Sichel, Boston University Art Gallery, 1995 Der Wert des
Menschen: Artists' Visions of the Individual and Society in Weimar Germany Boston
University Art Gallery, 1991 Urban
Visions: Contemporary Painters and the Urban Landscape. Venable
Neslage Galleries, Washington, DC, 1988. COURSES TAUGHT Graduate
Seminars: -Machine-Age
Visual Culture in the United States, 1900-1940. Spring, 2002 -Twentieth-Century
Art & Theory I-II. 1999/2000; 2000/2001; 2001/2002 Curatorial
Seminars: -Looking
East: American Art and Eastern Influence. Spring, 1999 -Reciprocity:
Alfred Leslie's Paintings and Films. Fall, 2000 Undergraduate
Courses: -Introduction
to Western Art History, Spring 2005, 2006 (Team-taught class) -History
of Art to 1400. Fall, 1993. -History
of Art since 1400. Winter, 1993 -Language
of Art. Summer, 1993; Fall, 1993 -American
Painting and Sculpture to 1940. Winter, 1990 -Art
Through the Ages. Summer, 1993 -Modern
Painting and Sculpture. Summer 1990; Spring, 1992. EXHIBITION JUROR 2006 Annual
Juried Exhibition, Danforth Museum of Art, Spring 2006 2003 Juried
Exhibition, Montserrat College of Art, Fall, 2003 2002 Juried
Biennial Exhibition, Center for Maine Contemporary Art, Spring, 2002 Annual Juried
Exhibition, Copley Society of Boston, Spring, 2000 Biennial 1999,
New Hampshire Institute of Art, Manchester, NH, Fall, 1999 1999 Biennial
Regional Juror's Choice Exhibition, Thorne-Sagendorf Art Gallery, Keene
State College, Winter, 1999 Marblehead
Festival of Art, Marblehead, MA, Summer, 1998 Art from Behind
the Desk, MIT Gallery, Cambridge, MA, July 1997 Festival on the
Common, South Shore Art Center, Cohasset, MA, May, 1997 VISITING CRITIC College of Fine
Arts, Boston University, Graduate Painting Department, April 2004 Montserrat
College of Art, Undergraduate Painting Department, September 2003 |