Anne Swartz

  • B.A., The University of the South
  • M.A., Vanderbilt University
  • Ph.D., Case Western Reserve University

Awards, recognition and honors

Fulbright Senior Specialists Roster, SCAD Presidential Fellow, Butkin Dissertation Fellowship, Case Western Reserve University Department of Art and Art History Scholarship, Eva M. Pancoast Memorial Fellowship for International Travel, Case Western Reserve University Art and Art History Travel Award, Case Western Reserve University Stone Fellowship, Vanderbilt University Graduate School Travel Award for Research, Vanderbilt University Department of Fine Arts Scholarship, Tonya Internship Award, Who's Who in American College and University Students, and Rotary International Tuition Scholarship.

Organizations

ArtTable, College Art Association, Institute for Women and Art, Rutgers University, Southeastern College Art Conference, The Feminist Art Project, and Women's Caucus for the Arts.

Previous Positions

Fulbright scholar, Tokyo; lecturer, University of Miami; assistant curator, BP America Art Collection; visiting scholar, Institute for Women and Art, Rutgers, The State University of New Jersey; art history chair, SCAD; dean, School of Fine Arts, SCAD; dean, academic research and faculty development, SCAD.

Publications and presentations

  • “Momentum: Women/Art/Technology,” Institute for Women and Art, Rutgers, The State University of New Jersey (2015): 7-10, 11-28.
  • “Bawdy Pricks: Sarah Maple’s ‘Cock Series,’” a part of “Sarah Maple: You Could Have Done This,” KochxBos Publishers (2015): 37-38.
  • “From WIA to WAR to Zines: An Overview of Feminist Art Exhibition Practices in New York City,” a part of “Women Choose Women Again,” Visual Arts Center of New Jersey in Summit, New Jersey (2014): 16-29.
  • “Why Digital Art History?” by Michelle Millar Fisher and Anne Swartz, a part of “Visual Resources: An International Journal of Documentation,” Vol. 30, No. 2 (2014): 125-137.
  • THATCamp College Art Association 2014 in Chicago, Illinois, co-organized with Michelle Millar Fisher.
  • “Sex in the Museum,” panel chair, The Feminist Art Project at College Art Association, Brooklyn Museum in New York, New York, 2013.
  • “Changing the Future: The Women’s Caucus for Art and the Feminist Art Project,” presentation at College Art Association Annual Conference in New York, New York, 2013.
  • “To Be a Lady: The State of Women in the Arts,” participant, Art Students League, New York, New York, 2012.
  • “Momentum: Women/Art/Technology,” respondent, College Art Association Annual Conference, Los Angeles, California, 2012.
  • “Feminist Art Workers and Relational Aesthetics,” a part of “Feminist Art Workers: A History,” published by Otis College of Art and Design (2012): 182-185.
  • “Why It’s Fun Being a Girl: Witnessing Adolescence in Charlie White’s ‘The Teen and Transgender Comparative Studies,’” a part of “The Symptom 12,” 2011.
  • “Art and Science: Art and Activism,” a part of the “Talking Creativity” series, facilitator, Institute for Women and Art, Rutgers, The State University of New Jersey in New Brunswick, New Jersey, 2011.
  • “The Question of the Girl, Part I” and “The Question of the Girl, Part II,” co-organized with Jillian Saint Jacques, National Women’s Studies Association Annual Conference in Denver, Colorado, 2010.
  • “Why It's Fun Being a Girl: Witnessing Adolescence in Charlie White's ‘The Teen and Trans Comparative Studies,’” presented at the National Women’s Studies Association Annual Conference in Denver, Colorado, 2010.
  • “The Question of the Girl, Part I,” presented at the National Women’s Studies Association Annual Conference in Denver, Colorado, 2010.
  • The Osaka Expo ’70 and the Japanese Avant-Garde workshop, discussion participant, East Asian Art History Program, Harvard University in Cambridge, Massachusetts, 2010.
  • “‘Master of the Universe’: Aurel Schmidt’s Genital Power,” presented at “Beyond the Phallus: Representations of the Penis in Modern and Postmodern Culture,” Joint Annual Conference Southeastern College Art Conference and Mid-America College Art Association in Richmond, Virginia, 2010.
  • “The home that the woman’s building built: Cheri Gaulke and Sue Maberry construct a visual narrative of the lesbian family,” Journal of Lesbian Studies, Vol. 14, No. 2 (2010): 201-237.
  • The Feminist Art Project at College Art Association, organizer, College Art Association Annual Conference in Los Angeles, California, 2009.
  • “Arlene Raven’s Legacy: Art, Women, Sexuality,” special volume of “Critical Matrix: The Princeton Journal of Women, Gender and Culture,” co-edited with Johanna Burton, Vol. 17, 2008.
  • “Sustaining Vision: A Tribute to Arlene Raven” group exhibition, curatorial consultant, The Lemmerman Gallery in Jersey City, New Jersey, 2008. 
  • “Pattern and Decoration: An Ideal Vision in American Art, 1975–1985,” guest curator, Hudson River Museum in Yonkers, New York, 2007–08.
  • “The Erotics of Envelopment: Figuration in Nancy Grossman’s Art,” n.paradoxa: international feminist art journal, Vol. 20 (2007): 64-70.
  • The Feminist Art Project at College Art Association, organizer, College Art Association Annual Conference in New York, New York, 2007.
  • “American Art after 9/11: A Consideration of the Twin Towers,” symploke, Vol. 14, No. 1-2 (2006): 81-96.
  • “The Impact of Islamic Art and Culture on Pattern and Decoration in the 1960s and 1970s,” presented at the College Art Association Annual Conference in Atlanta, Georgia, 2005.
  • “Review: Anne Wagner’s ‘Three Artists (Three Women): Modernism and the Art of Hesse, Krasner, and O’Keeffe,’” Woman’s Art Journal, Vol. 20, No. 1 (1999): 63-65.
  • “New Genre: Investigating Electronic, Media and Imaging Arts,” presented at the Electronic Imaging and the Visual Arts Conference in Cambridge, England, 1998.
  • “‘Accession II’: Eva Hesse’s Response to Minimalism,” Bulletin of the Detroit Institute of Arts, Vol. 71, No. 1-2 (1997): 36-47.
  • “Feminizing the Familial: Re-Interpreting the Laocoön Through Eva Hesse’s Art,” presented at the College Art Association Annual Conference in New York, New York, 1994.
  • “A Redating of Kupka’s ‘Amorpha, Fugue in Two Colors II,’” The Cleveland Museum of Art Bulletin, Vol. 80, No. 8 (1993): 327-351.