Faculty and Staff Directory
|Title:||Professor / Art History
|School of Visual Art and Design|
Peter Chametzky is Professor of Art History, and has been on the SVAD faculty since 2012. His research focuses on 20th and 21st century German art and culture.
From 1998 to 2012 he taught at Southern Illinois University, first as Associate Professor and then as Professor, and served as Director of the School of Art and Design on the Carbondale campus from 2008-12. He served as Director of the UofSC SVAD from 2013-2018. Previously, he taught at Adelphi University (1990-98), the School of Visual Arts (1984-88), and in the School of Continuing Education at New York University (1986-88). He earned his Ph.D. in Art History from the City University of New York Graduate Center in 1991. His B.A., also in Art History, is from Cornell University. He has also studied in Freiburg iBr, and Stuttgart, Germany.
Peter teaches courses in 20th and 21st Century art, theory, and culture, as well the art history survey, ARTH 105 and ARTH 106.
Turks, Jews, and Other Germans in Contemporary Art (Cambridge, MA: MIT Press, fall 2021, in press). To be published with the support of a Millard Meiss Publication Fund grant from the College Art Association.
Objects as History in Twentieth-Century German Art: Beckmann to Beuys (Berkeley, Los Angeles, and London: University of California Press, 2010).
“’Turks, Jews, and Other Germans in Contemporary Art’: An Introduction,” The Massachusetts Review (60th Anniversary Issue), vol. 60/4 (Winter 2019): 655-681.
“Global Art, National Values, Monumental Compromises: ‘German' 9/11 Commemoration in America, ‘American’ Holocaust Commemoration in Germany,” The Massachusetts Review (50th Anniversary Issue), vol. 50/1-2 (May 2009): 155-180.
“Not What We Expected: The Jewish Museum Berlin in Practice,” Museum and Society, vol. 6:3 (November 2008): 216-245 (http://www.le.ac.uk/ms/museumsociety.html).
"Paul Westheim in Mexico” (revised version of 2001 Oxford Art Journal article) and “Anna Seghers’s Mexican Exile,” commissioned by Reina Sofia Museum, Madrid, for exhibition catalogue Posada to Isotype, opening May 2021.
“From Anti-Nazi Postcards to Anti-Trump Social Media: Laughter as Resistance, Opposition, or Cold Comfort?” Art and Resistance in Germany, ed. Deborah Ascher Barnstone and Elizabeth Otto (New York: Bloomsbury Academic, 2018), 193 – 216.
“Missed Opportunities, Misunderstandings: Baumeister and the United States,” Willi Baumeister International, Schriften des Archiv Baumeister im Kunstmuseum Stuttgart, 4 (Stuttgart/Munich/Berlin: Kunstmuseum Stuttgart and Deutscher Kunstverlag, 2013), 43- 55 (German), 300-305 (English).
“Titanic Sinks, Departure Arrives: on Beckmann, Film, and the Fall of History Painting and Rise of the Historical Object,” Of Truths Impossible to Put in Words: Max Beckmann Contextualized, ed. Rose-Carol Washton Long and Maria Makela (Bern, Frankfurt, etc.: Peter Lang, 2009), 229-265.
“Creating a Capital: Instrumental Structures,” reviewing Anna Minta, Staatsbauten und Sakralarchitektur in Washington/DC(Berlin: Reimer 2015), Kunstchronik, Munich 70/2 (Feb. 2017): 79-84.
“Artists as Avatars,” Modern Intellectual History (Cambridge University Press), 11/1 (April 2014): 237-252.
Konstanze Rudert, curator and editor, Im Netzwerk der Moderne. Kirchner, Braque, Kandinsky, Klee … Richter, Bacon, Altenbourg und ihr Kritiker Will Grohmann, (Dresden: Staatliche Kunstsammlungen in association with Hirmer Verlag, Munich, 2012), The Art Bulletin XCV/3 (September 2013): 494-99.
Sabine Kriebel, Revolutionary Beauty: The Radical Photomontages of John Heartfield (University of California Press, 2014), American Historical Review (April 2015): 736-37.
Cordula Grewe, Painting the Sacred in the Age of Romanticism (Ashgate, 2009), American Historical Review (February 2012): 287-88.
Matthew Baigell, Milly Heyd, and Rose-Carol Washton Long, ed. Jewish Dimensions in Modern Visual Culture (Brandeis University Press, 2010), Images: A Journal of Jewish Art and Visual Culture 5 (2011): 121-4.
Juliet Koss, Modernism After Wagner (University of Minnesota Press, 2009), Design and Culture, 3:2 (Summer 2011): 257-9
“Who Represents Germany? Introducing Turks, Jews, and Other Germans in Contemporary Art” at Community: Public, Private, Patron, and Spectator the 5th Annual Symposium in Art History, Organized by The Art Student Graduate Organization of the University of North Carolina, Chapel Hill, September 7, 2019
“Revising and Refunctioning as Restitution,” Festvortrag at inaugural exhibition of the Kunsthaus Dahlem museum, Berlin, June 11, 2015 (delivered in German).
“Living and Dying and Resisting Montage,” pdf of essay, responses to questions, and short videos, online symposium Goodbye Photomontage, in connection with exhibition, John Heartfield. Photography Plus Dynamite, Akademie der Künste, Berlin, summer 2020.