Ann Sutherland Harris

Ann Birgitta Sutherland Harris (born 4 November 1937) is a British-American art historian specializing in Baroque art, Modern art, and in the history of women's art.[1] She is an educator, having held her first position as Assistant Professor of Art History at Hunter College, City University of New York (1971–1973). Harris was then hired as Associate Professor at the State University of New York, Albany. Following that she held the Arthur Kittridge Watson Chair for Academic Affairs at the Metropolitan Museum of Art from 1977–1981. Harris received a Senior Research Fellowship in 1981-82 from the National Endowment for the Humanities and in 1982, was named the Amon Carter Distinguished visiting Professor of Art History at the University of Texas at Arlington before accepting the position of Mellon Professor of Art History at the University of Pittsburgh.[2] She is now Professor emerita of Italian Baroque art at that institution.[3]

Ann Sutherland Harris
Born
Ann Birgitta Sutherland

(1937-11-04) 4 November 1937
Cambridge, England
NationalityBritish
EducationPhD Courtauld Institute of Art, London
Honorary Doctor of the Arts, Eastern Michigan University
Honorary Doctor of Humanities, Atlanta College of Art
Spouse(s)William V. Harris
AwardsWomen's Caucus for Art Lifetime Achievement Award 2005

Harris and the feminist art historian Linda Nochlin co-curated the exhibition, Women Artists: 1550-1950 at the Los Angeles County Museum of Art in 1976. There was a book written by Harris and Nochlin that accompanied the exhibition, in which Harris proposed that art produced by women from the time of the Middle Ages to the French Revolution was infrequently written about or collected.[4] She argues that an aspect of bias was that women did not have access to the same academic training as men, thus causing their dismissal as "dilettantes".[5]

The American art collector Wilhelmina Cole Holladay sought advice regarding placement of her private collection of works by women artists, it was Harris who suggested Holladay found the National Museum of Women in the Arts.[6]

Selected bibliography
  • Selected Drawings of Gian Lorenzo Bernini. New York: Dover Publications, 1977[7]
  • Andrea Sacchi: Complete Edition of the Paintings with a Critical Catalogue. Princeton, NJ: Princeton University Press, 1977[8]
  • Landscape Painting in Rome, 1595-1675: a Loan Exhibition. New York, NY: R. L. Feigen Gallery, 1985
  • Women Artists: 1550-1950. Los Angeles: Los Angeles County Museum of Art/New York: Random House, 1976[5]
  • Elizabeth Murray: Drawings, 1980-1986. Pittsburgh: Carnegie Mellon University Art Gallery/New York: Harper and Row, 1986
  • Seventeenth-Century Art and Architecture. London [Laurence King], 2005; 2nd ed., 2008[3][9]

Awards and honors

Harris has received several honors and awards for her work, including a Women's Caucus for Art Lifetime Achievement Award; grants from the John Simon Guggenheim Memorial Foundation, the National Endowment for the Arts, the National Endowment for the Humanities, the Metropolitan Museum of Art, and the J. Paul Getty Museum.[3][10]

gollark: Analogously, I would say you should probably not be required to have someone grafted to your circulatory system and stuff for 9 months if this would keep them from an otherwise lethal disease or something. You maybe *should* morally, but this is a different thing (and I don't think that really applies in the fetus case, as it isn't much of a "person").
gollark: Actually, I seem to have misread your angle, so it isn't entirely relevant. But regarding "I'll tell them what not to do with others bodies. And the child is another body. It's medically provable.", I would argue that you should not be *required* to put up with fairly substantial health risks/inconvenience because the fetus requires being attached to someone to survive.
gollark: No, before murdering someone you have to do a MRI scan to check brain development.
gollark: There is a difference between "body" and even "human body" and "person".
gollark: It's historically important, at least.

References
  1. Who's Who of American Women (2007). Marquis Who's Who, New Providence, New Jersey..
  2. "Harris, Ann Sutherland née Sutherland". Dictionary of Art Historians: A Biographic Dictionary of Historic Scholars, Museum Professionals and Academic Historians of Art. Archived from the original on 3 March 2016. Retrieved 29 January 2017.
  3. "Faculty: Ann Sutherland Harris". History of Art and Architecture. University of Pittsburgh. Retrieved 29 January 2017.
  4. Harris, Ann Sutherland; Nochlin, Linda (1976). Women artists, 1550-1950. Los Angeles County Museum of Art. ISBN 9780394411699. Retrieved 29 January 2017.
  5. "WOMEN ARTISTS 1550-1950 By Ann Sutherland & Linda Nochlin Harris". Kirkus Reviews. Kirkus reviews. Retrieved 29 January 2017.
  6. "Ann Sutherland Harris". Art Table: The Leadership Organization for Professional Women in the Visual Arts. ARTTABLE. Retrieved 29 January 2017.
  7. Harris, Ann Sutherland (1977). Selected drawings of Gian Lorenzo Bernini. NY: Dover (first edition). ISBN 9780486235257.
  8. Sacchi, Andrea; Harris, Ann Sutherland (1977). Andrea Sacchi: Complete Edition of the Paintings. University Press.
  9. Harris, Ann Sutherland (2005). Seventeenth-century Art & Architecture. Laurence King Publishing. ISBN 9781856694155. Retrieved 29 January 2017.
  10. "Women's Caucus for Art, Honor Awards for Lifetime Achievement in the Visual Arts" (PDF). WCA Honor Awards 2005. National Women's Caucus for Art. Retrieved 29 January 2017.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.