Faculty and Staff Directory
|Title:||Professor / Art History
|School of Visual Art and Design|
|Resources:||Curriculum Vitae [pdf]|
Peter Chametzky is Professor of Art History, and has been on the SVAD faculty since 2012. 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 USC 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 PhD in Art History from the City University of New York Graduate Center in 1991. His BA, 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. His research focuses on 20th-century German art and culture.
Publications Since 2008
1. Objects as History in Twentieth-Century German Art: Beckmann to Beuys (Berkeley, Los Angeles, and London: University of California Press, 2010).
1. “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.
2. “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).
1.“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.
2. “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).
3.“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.
1. “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.
2. “Artists as Avatars,” Modern Intellectual History (Cambridge University Press), 11/1 (April 2014): 237-252.
3. 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.
1. Sabine Kriebel, Revolutionary Beauty: The Radical Photomontages of John Heartfield (University of California Press, 2014), American Historical Review (April 2015): 736-37.
2. Cordula Grewe, Painting the Sacred in the Age of Romanticism (Ashgate, 2009), American Historical Review (February 2012): 287-88.
3. 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.
4. Juliet Koss, Modernism After Wagner (University of Minnesota Press, 2009), Design and Culture, 3:2 (Summer 2011): 257-9