The Norma U. Lifton Lectures in Art History
Since 1988, the Norma U. Lifton Lecture in Art History has brought distinguished art historians and critics to the Department of Art History, Theory, and Criticism at SAIC. Across its history, the annual selection for the Lifton Lecturer has been guided predominantly by a desire to feature scholars whose work has served as a model for women art historians and who have encouraged feminist approaches to art history.
2018: Hannah B Higgins, "USA Surpasses All the Genocide Records: The Perspective from 9/11"
2017: Deborah Willis, "Picturing Women: The Power of the Gaze"
2016: Rachael Z. DeLue, "Thomas Eakins' Music Painting and the Problem of Picturing Sound"
2015: Caroline A. Jones, "Desires for the Global"
2014: Hollis Clayson, "Episodes from the Visual Culture of Electric Paris"
2013: Panel Discussion with Catherine Bock-Weiss, James Elkins, David Getsy, and James Yood, "From Gardner to Global: Modern and Contemporary Art History at SAIC"
2012: Andrea Giunta, "Imagining the Future. The Post-War Avant-Garde in Latin America"
2011: Anne Higonnet, "White Dress, Broken Glass: Starting Art All Over Again in the Age of Revolution"
2010: Patricia Leighten, "A Rationale of Ugliness: Primitivism, Cubism and Its Audience, 1908–1913"
2009: Jean Fisher, "Trickster, Troubadours, and Bartleby: On Art From a State of Emergency"
2008: Linda Nochlin, "Courbet Now"
2007: Kellie Jones, "African Aesthetics in the Black Arts Movement, the 1960s and 1970s"
2006: Michele Bogart, "The Politics of Public Beauty: New York Answers and Chicago Questions"
2005: Anne Wagner, "Our Flag was Still There: Nationalism, Hegemony, and Jasper Johns"
2004: Renata Stih & Frieder Schnock, "Like James Bond: Art With an Assignment"
2003: Jerry Saltz & Roberta Smith, "Point/Counterpoint: Roberta Smith and Jerry Saltz Talk About the Art, Life and Role of the Working Critic in New York City"
2002: Eleanor Heartney, "Transcending Fundamentalism: Art in an Age of Moral Absolutism"
2001: Ann Gibson, "Can Abstraction Have Social Meaning? 1949–2000"
2000: Tsong-Zung Chang, "Everyday Use of Art: From Calligraphy to Conceptual Art in China"
1999: Gerardo Mosquera, "Alien Own/Own Alien: Globalization and Cultural Difference"
1998: Kristine Stiles, "Remembering Invisibility: Documentary Photography in the Nuclear Age"
1997: Griselda Pollock, "Who is the Other? Feminism, Politics, and Modernism: New York 1915"
1996: Johanna Drucker, "Signs of Life: Images of Language, American Art from Standard Brand to Integrated Circuit"
1995: Christopher Reed, "Reimagining Domesticity: The Art of the Bloomsbury Group"
1994: Maria Makela, "Subversive Strategies: On Hannah Höch and Photomontage in Weimar Germany"
1993: Carol Armstrong, "Facturing the Feminine: Manet's Woman Before the Mirror"
1992: Whitney Chadwick, "Living Simultaneously: Sonia and Robert Delauney"
1991: Roger W. Shattuck, "Georges Braque: Poet & Painter"
1990: Patricia Mainardi, "Marriage and Its Discontents: Husbands, Wives and Lovers in 19th Century France"
1989: Eugenia Parry Janis, "What Do We Want Photographs To Be?"
1988: Linda Nochlin, "Seurat's Grand-Jatte: An Anti-Utopian Allegory"