email: jensamet [at] gmail [dot] com
Jennifer Samet, Ph.D., is a New York-based art historian, curator, and writer. She is a professor of Art History at the City University of New York and co-directs the gallery Steven Harvey Fine Art Projects in downtown Manhattan. She completed her dissertation at the CUNY Graduate Center on Painterly Representation in New York: 1945-1975. She has lectured at universities across the country on the subject of “The Role of Empathy in Art.” Her writing on both abstract and representational painting has been published in Master Drawings, Hyperallergic, ArtNet Magazine, the New York Sun, and numerous exhibition catalogs. She curated major historical exhibitions on The Jane Street Group, the history of the New York Studio School, and “Reconfiguring the New York School.” She is particularly interested in the voice of the artist, and has published many interviews with painters.
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EDUCATION
Ph.D., Art History, June 2010, The Graduate Center, City University of New York
Major field: Twentieth-Century Art; specialization: Post-War painting in New York
Dissertation: Painterly Representation in New York, 1945-1975
Advisor: Prof. Patricia Mainardi; Committee: Rose-Carol Washton Long, Katherine Manthorne, Martica Sawin.
B.A., May 1997, Barnard College, Columbia University, New York, NY
Major: Art History
Thesis Topic: Charlotte Moorman and the Avant Garde Festival
Advisor: Prof. Benjamin Buchloh
TEACHING
Adjunct Professor, Borough of Manhattan Community College, 2012- present
Modern Art course
Adjunct Professor, Bergen Community College, 2012
Introduction to Art and Visual Culture course
Adjunct Lecturer, Kean University, 2005
Art from the Renaissance to the Modern World (AH 1701) course
Writing Fellow, Hostos Community College, 2004
Consultant, as part of a CUNY-wide “Writing Across the Curriculum” initiative. Worked with several professors in bringing improved writing to the classroom.
Adjunct Lecturer, Hunter College, 2004
Art History Survey course (Ancient – Modern)
Developed assignments and evaluated work and exams
LECTURES
“The Role of Empathy in Art,” Washington Studio School, Washington D.C., May 3, 2012
“The Role of Empathy in Art,” Knox College, Illinois, April 20, 2012
“The Role of Empathy in Art,” Keynote Lecture, Eleanor D. Wilson Museum at Hollins University, Roanoke, VA. September 29, 2011.
Keynote Speech, Cum Laude Ceremony, Dwight Englewood School. Englewood, New Jersey, 2011.
“Leland Bell: Painter and Teacher,” Moderator of Panel Discussion. New York Studio School, October 26, 2010.
“The Role of Empathy in Painting,” Moderator of Panel Discussion on the occasion of the exhibition, “East Meets Midwest.” New York: Westbeth Gallery, September 2010.
CATALOGUE ESSAYS
“Cave Painter: The Work of David Paulson,” in David Paulson: Images from Within, Exh. cat. New York: Jonathan Burden, May 2012.
“What We Can Save: An Ordinary Sublime,” in Salvaged, Exh. cat. New York: Island Weiss Gallery, November 2011.
“Bill White: Empathy and Engagement,” in Bill White: Empathy and Engagement, Exh. cat. Eleanor D. Wilson Museum at Hollins University. Roanoke, VA, September 2011.
“Earl Kerkam: The Quest,” in Kerkam. Exh. cat. New York: The Painting Center, 2011.
“Eccentric Figuration: The Painting in NY Group,” in Painting in New York. Exh. cat. New York, 2011.
“Moving Through Paint,” in Ryan Cobourn: Brooklyn Botanical, Exhe. cat. New York: Fischbach Gallery, 2010.
“Simultaneity: The Work of Sangram Majumdar,” in Sangram Majumdar. Exh. cat. New York: Steven Harvey Fine Art Projects, 2009.
“Endurance: The Paintings of Stanley Lewis,” in Stanley Lewis. Exh. cat. New York: Bowery Gallery, 2008.
“Mapping the Pedagogy of the New York Studio School,” The Continuous Mark: 40 Years of the New York Studio School.
Exh. cat. New York Studio School of Drawing, Painting, and Sculpture, 2005.
The Jane Street Gallery: Celebrating New York’s First Artist Cooperative. Exh. cat. with essay, “The Jane Street Group: Reconciling Abstraction and Figuration.” New York: Tibor de Nagy Gallery, 2003.
“Peter Heinemann’s Flaming Heaven: A Futuristic Pastoral,” Peter Heinemann: Flamingo Heaven. Exh. cat. New York: Gallery Schlesinger, 2003.
“A Home in the Making: The Paintings and Drawings of Jason Harvey,” Family Line: Drawings and Paintings by Anne Harvey, Jason Harvey, and Steven Harvey. Exh. cat. New York Studio School of Drawing, Painting, and Sculpture, 2002.
“Reconfiguring the New York School,” Reconfiguring the New York School. Exh. brochure. Center for Figurative Painting, 2000.
PUBLICATIONS
“Andrea Belag: Morning Meditations,” Master Drawings (Modern and Contemporary Drawings, 50th Anniversary Issue), Vol, L., no. 2, Summer 2012.
“In Conversation: Jennifer Samet Interviews Elena Sisto,” NY Arts Magazine, Summer 2012.
“In Conversation: Jennifer Samet Interviews Andrea Belag,” NY Arts Magazine, Spring 2012.
“Howard Hodgkin: The Mark of Color,” Exh. Review, Gagosian Gallery. Artnet Magazine, 2 December 2011.
“The Artist Who Had to Start Over,” (A Chat with the Artist: Alfred Leslie). The New York Sun, 18 April 2007.
“Rewriting Recent Art History,” (Preview of High Times, Hard Times, National Academy Museum). The New York Sun, 6 February 2007, 14.
“Drawing the Stars, with a Romantic Touch,” (A Chat with the Arist: Elizabeth Peyton) The New York Sun, 24 August 2006, 14.
“Making Art that Works,” (A Chat with the Artist: Jules Olitski) The New York Sun, 17 April 2006, 18.
“Portraits of the Artist as a Young Woman,” (A Chat with the Artist: Jane Freilicher) The New York Sun, 30 March 2006, 25.
“Many Styles, Drawn Together,” (The Curator’s View: Preview of The Continuous Mark, New York Studio School). The New York Sun, 17 February 2005.
CURATED EXHIBITIONS
“Dark Matters,” Steven Harvey Fine Art Projects, February 23 – March 18, 2012.
Paintings by Andrea Belag, Ryan Cobourn, Arthur Dove, Bill Jensen, and Ellen Phelan.
Reviews:
Brett Baker, “Dazzling Darkness,” Painters’ Table, March 7, 2012
William Eckhardt Kohler, “Two Group Shows on the Lower East Side,” Painting Lives!, March 3, 2012
“The Continuous Mark: 40 Years of the New York Studio School,” The New York Studio School. February 17 – May 7, 2005.
This four-part exhibition, commemorating the fortieth anniversary of the school’s founding, considered the origins, educational system, and legacy of the school, and included the work of both faculty and alumni.
“The Jane Street Gallery: Celebrating New York’s First Artist Cooperative,” Tibor de Nagy Gallery, New York, June 12 – July 25, 2003.
Together with an exhibition catalogue, this show investigated the first cooperative gallery in New York, and the early work of its members: Leland Bell, Nell Blaine, Ida Fischer, Albert Kresch, Louisa Matthiasdottir, Larry Rivers, Judith Rothschild, and Hyde Solomon. A companion exhibition of works by Jean Hélion was also held at Tibor de Nagy Gallery, to illustrate his influence on the Jane Street artists.
Reviews:
The Art Newspaper 138. July-August 2003.
Disch, Thomas. The New York Sun. 26 June 2003.
Glueck, Grace. The New York Times. 4 July 2003.
Goodrich, John. Artcritical.com. Spring 2003.
Henry, Clare. Financial Times. 26 June 2003.
Teachout, Terry. Washington Post. 6 July 2003.
“Reconfiguring the New York School,” Center for Figurative Painting, November 11, 2000- January 27, 2001.
This exhibition reconsidered the New York School, by investigating the figurative / representational work of 17 painters, including Leland Bell, Jane Freilicher, Alex Katz, Louisa Matthiasdottir, Philip Pearlstein, Fairfield Porter, and Albert York, among others.
Reviews:
Goodrich, John. Reviewny.com. 15 November 2000.
Johnson, Ken. The New York Times. 8 December 2000.
Kramer, Hilton, “Figurative Rebels Joined in N.Y. School Reunion.” The New York Observer. 15 January 2001.
The New Yorker. 8 January 2001.
Perl, Jed. The New Republic Online. 15 January 2001.
Teachout, Terry, “Amid Bad Weather & Blah News, a Bright Idea.” The Washington Post. 4 February 2001.
Wilkin, Karen, “Making the case for figuration,” The New Criterion. February 2001.
Reviews:
The Art Newspaper 138. July-August 2003.
Disch, Thomas. The New York Sun. 26 June 2003.
Glueck, Grace. The New York Times. 4 July 2003.
Goodrich, John. Artcritical.com. Spring 2003.
Henry, Clare. Financial Times. 26 June 2003.
Teachout, Terry. Washington Post. 6 July 2003.
“Reconfiguring the New York School,” Center for Figurative Painting, November 11, 2000- January 27, 2001.
This exhibition reconsidered the New York School, by investigating the figurative / representational work of 17 painters, including Leland Bell, Jane Freilicher, Alex Katz, Louisa Matthiasdottir, Philip Pearlstein, Fairfield Porter, and Albert York, among others.
Reviews:
Goodrich, John. Reviewny.com. 15 November 2000.
Johnson, Ken. The New York Times. 8 December 2000.
Kramer, Hilton, “Figurative Rebels Joined in N.Y. School Reunion.” The New York Observer. 15 January 2001.
The New Yorker. 8 January 2001.
Perl, Jed. The New Republic Online. 15 January 2001.
Teachout, Terry, “Amid Bad Weather & Blah News, a Bright Idea.” The Washington Post. 4 February 2001.
Wilkin, Karen, “Making the case for figuration,” The New Criterion. February 2001.
PROFESSIONAL EXPERIENCE
Co-Director, Steven Harvey Fine Art Projects, New York, 2007-present
Develop and maintain relationships with a group of artists represented by the gallery;
Promotion of artists nationally and internationally with curators, private collector, and museums;
Organize monographic and thematic exhibitions, both contemporary and historical;
Organize public and educational events;
Publish and design exhibition catalogues, write essays and publicity materials;
Collaborate with other galleries and institutions on exhibitions of gallery artists and estates.
Director, Center for Figurative Painting, New York, 2000-2001
Initiated a public exhibition space to house and exhibit an important private collection of painting;
Curated several major exhibitions;
Managed public relations and promotion of a new space and collection;
Researched and wrote about works in the collection;
Managed collection, including exhibition loans;
Directed all aspects of Center's administration.
Associate, Hirschl & Adler Modern, New York, 1998-1999
Sales and marketing;
Organized exhibitions of gallery artists.
Assistant to the director, Sandra Gering Gallery, New York, 1997-1998
Sales of both primary and secondary market work;
Selected work for exhibitions;
Public relations.
Archivist of Artists’ and Writers’ Estates
Estates of Lil Picard, David Tudor, and Charlotte Moorman, 1995-98
Archived and catalogued materials, including ephemera, personal papers, correspondence, and artwork;
Wrote and designed analyses and summaries of contents for potential acquirers;
Participated in the appraisal of a museum art collection.
ACADEMIC SERVICE
Graduate Student Representative, 2003-2004
Served as a member of the Executive Committee.
Research Assistant, The Graduate Center, CUNY, 2001-2004
Have assisted several members of the faculty in research endeavors and exhibition projects of the Art Gallery.
FELLOWSHIPS AND AWARDS
Writing Fellowship, City University of New York, 2004-2005
University Fellowship, The Graduate Center, City University of New York, 2001-2004
Virginia B. Wright Award for the most promising senior Art History major, Barnard College, 1997.
Joyce Kosh Kaiser Grant for an Internship in the Arts, Barnard College, 1995.
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