Configuring and Contesting Jewish Identities in the Visual Field

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Acknowledgements

I thank Glenda Abramson and the staff of Modern Jewish Studies for their support throughout the long process of putting this project together. The scholars who gave generously of their time and expertise in serving as anonymous referees are gratefully acknowledged. Thanks also go to those who provided images and facilitated obtaining permissions to reproduce them here and in the digital version of the journal. Finally, I thank Stephen Carroll, my editor of first and last resort.

Disclosure statement

No potential conflict of interest was reported by the author.

Notes

1 Nohlin's essay is widely considered the founding document of feminist art history.

2 For example, the journals Ars Judica, Jewish Art, and Images, and the path-breaking work of the Jewish Museum in New York.

3 Samantha Baskind proffers a useful and flexible definition in the course of her study of Raphael Soyer. See Silver and Baskind for a discussion of this problem in the context of modern art.

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Notes on contributors

Andrea Pappas

Andrea Pappas is an associate professor of art history at Santa Clara University. She graduated from UC Berkeley, spent a year in a non-degree program at Yale, and went on to earn her MA and Ph.D. from USC, where she also earned a graduate certificate in gender studies. She has published on Mark Rothko, mid-twentieth-century abstract painting, the New York art market, and American Jewish art and visual culture. Her most recent publication, “‘Each Wise Nymph that Angles for a Heart': The Politics of Courtship in the Boston ‘Fishing Lady' Pictures,” recently appeared in Winterthur Portfolio. Her work has been supported by the NEH. With Kelly Donahue-Wallace and Laetitia La Folllette, she is a contributing editor to Teaching Art History with Technology: Reflections and Case Studies.