Catherine Holochwost, Ph.D.
Olney Hall 155
Dr. Holochwost holds a B.A. from Yale University, a M.A. from Rutgers University, New Brunswick, and a Ph.D. from the University of Delaware in art history. At Delaware, she specialized in American art and material culture. Her dissertation project was supported by a Douglass Foundation Fellowship at the Metropolitan Museum of Art, a short-term research fellowship at Winterthur Museum and Library, and a Henry Luce Foundation/American Council of Learned Societies Dissertation Fellowship in American Art. She recently completed a postdoctoral fellowship year at the Smithsonian American Art Museum dedicated to researching her book project on the embodied imagination in antebellum American art and culture.
Dr. Holochwost’s research and teaching interests include landscape and gardens in eighteenth- and nineteenth-century America and the British Atlantic world; the use of humor in American art; the material culture of slavery and plantations; the social world of Hudson River School painters; and the politics of postwar British abstract art. Her article, “A ‘Pretty Good Grahamite’”? The Paradoxical Pleasures of Asher B. Durand’s Ariadne” appears in the Fall 2013 issue of American Art. In addition to her work as a teacher and scholar, she has worked as a consultant on projects to assess and evaluate public art education conducted by museums, galleries, and federal funding agencies.
Areas of Expertise
- Hudson River School painting
- Romanticism in American arts and letters
- American material culture
- Cultural politics in postwar England and America
Ph.D., Art History, University of Delaware, 2011
M.A., Art History, Rutgers University, 2006
B.A., Yale University, 2001
ARTH 150: Introduction to Art
ARTH 222: American Art: Native to Modern
“A ‘Pretty Good Grahamite’”? The Paradoxical Pleasures of Asher B. Durand’s Ariadne” American Art 27 (Fall 2013).
Review of Doctored: The Medicine of Photography in Nineteenth-Century America by Tanya Sheehan, caa.reviews. December, 2012.
Review of Sanctified Landscape: Writers, Artists, and the Hudson River Valley, 1820- 1909 by David Schuyler. Pennsylvania History: A Journal of Mid-Atlantic Studies. Forthcoming, Autumn 2013
“Chasing Pigs and Milking Cows: Interpreting Play in Asher B. Durand’s Doors for Mr. Reed’s Gallery.” Invited lecture, Smithsonian American Art Museum, Washington, D.C., June 2013.
“Luman Reed’s Doors: Exhibiting Contingency in Jacksonian America,” Conference presentation, Interdisciplinary Nineteenth-Century Studies Conference, “Pleasure, Race, and Exhibition in Nineteenth-Century America,” Charlottesville, Virginia, March 2013.
“Skinning the Sister: Frederic Edwin Church’s Restoration of Sor Pudenciana,” Conference presentation, Southeastern College Art Annual Conference, “Taking Art Apart,” Durham, North Carolina, October 2012.
“Envisioning Collapse: Genius, Madness, and the Irrationality of the Market,” Conference presentation, Association of Historians of American Art Symposium: The Academy, Museums, and the Market, Boston, October 2012.
“Visual Strangeness in Poetic Landscapes by Thomas Doughty and Charles Codman,” Symposium presentation, Charles Brockden Brown Society Biannual Conference: Weird America, Pasadena, October 2010.
“The Triumph of Vision and the Failure of the Hudson River School,” Invited lecture, Metropolitan Museum of Art: Fellows Colloquium, New York, May 2010.
“The Screen and the Veil: Imagination, Gender, and Illusion in Antebellum American Visual Culture,” Conference presentation, College Art Association: “American Art and the ‘Period Eye,’” Chicago, February 2010.
“Real and Concealed Identities in the Painting of Gerald Murphy,” Invited lecture, Jane Voorhees Zimmerli Art Museum, New Brunswick, New Jersey, October 2003.