Richard Neer

Richard Neer

William B. Ogden Distinguished Service Professor of Art History, Cinema & Media Studies and the College
259 Cochrane-Woods Art Center
773.702.5890
On leave Autumn 2014 and Winter 2015

Richard Neer is William B. Ogden Distinguished Service Professor of Art History, Cinema & Media Studies and the College, and the Executive Editor of Critical Inquiry. He works at the intersection of aesthetics, archaeology and history, with particular emphasis on the role of phenomenology and theories of style in multiple fields: Classical Greek sculpture, neo-Classical French painting, and mid-20th century cinema.  His Ph.D. is from the University of California at Berkeley (1998), his A.B. from Harvard College (1991). He has received fellowships and awards from the J. Paul Getty Museum, the Center for Advanced Study in the Visual Arts, the J. Paul Getty Trust and the American Academy in Rome. His most recent books are The Emergence of the Classical Style in Greek Sculpture (University of Chicago Press, 2010) and Art and Archaeology of the Greek World: A New History, 2500–100 BCE (Thames & Hudson, 2012). Current research topics include: ancient concepts of wonder and grace, the theory and history of connoisseurship, the sculpture of Charles Ray, and questions of evidence, criteria and judgment in some films by Malick, Mizoguchi and others.

Books

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Articles

  • "The Lion's Eye: Imitation and Uncertainty in Attic Red-Figure," Representations 51 (1995): 118-53.
  • "Beazley and the Language of Connoisseurship," Hephaistos 15 (1997): 7-30.
  • "Imitation, Inscription, Antilogic," Métis: Revue d'anthropologie du monde grec ancien 13 (1998; appeared 2003): 17-33.
  • "Framing the Gift: The Politics of the Siphnian Treasury at Delphi." Classical Antiquity 20 (2001): 273-336.
    Reprinted in abridged form as “Framing the Gift: The Siphnian Treasury at Delphi and the Politics of Architectural Sculpture,” in The Cultures within Greek Culture: Contact, Conflict, Collaboration, ed. C. Dougherty and L. Kurke (Cambridge, England: Cambridge University 2003): 129–49.
  • "Space and Politics: On the Earliest Classical Athenian Gravestones." Apollo 156 (July, 2002): 20-27.
  • "Poussin, Titian, and Tradition: The Birth of Bacchus and the Genealogy of Images," in Word & Image 18 (2002): 267-81.
  • "Reaction and Response." Critical Inquiry 30 (2004): 472-76.
  • "The Athenian Treasury at Delphi and the Material of Politics." Classical Antiquity 22 (2004): 63-93.
  • "Connoisseurship and the Stakes of Style." Critical Inquiry 32 (2005): 1-26.
  • "Poussin and the Ethics of Imitation," Memoirs of the American Academy in Rome 51/52 (2006/2007): 298-344.
  • "Delphi, Olympia, and the Art of Politics." in The Cambridge Companion to Archaic Greece, ed. H. A. Shapiro (Cambridge, England: Cambridge University 2007): 245-64.
  • "The Rule of Style, or, Isabel Archer's History of Art," in L'Ordre des disciplines, eds. R. Morrissey. (University of Chicago Press Paris Notebooks, forthcoming).
  • "Godard Counts," Critical Inquiry 34 (2007): 135-73.
  • "The Incontinence of Civic Authority in Athenian Vase-Painting." in The World of Greek Vases, ed. V. Nørskov et al. (Rome: Edizioni Quasar 2009): 205-18.
  • "Connoisseurship: From Ethics to Evidence." in An Archaeology of Representations: Ancient Greek Vase-Painting and Contemporart Methodologies, ed. Dimitrios Yatromanolakis (Athens: Kardamitsa 2009).
  • "Jean-Pierre Vernant and the History of the Image," Arethusa 43 (2010): 181-95.
  • "Poussin's Useless Treasures." In Judaism and Christian Art, ed. H Kessler and D. Nirenberg (Philadelphia: University of Pennsylvania 2010): 328-58.
  • "Terrence Malick's New World," nonsite 2 (2011). http://nonsite.org/issue-2/terrence-malicks-new-world (15000 words).
  • “Sacrificing Stones: On Some Sculpture, Mostly Athenian.” In Greek and Roman Animal Sacrifice: Ancient Victims, Modern Observers, ed. C. Faraone, B. Lincoln and F. Naiden. Cambridge, England: Cambridge University Press 2012): 99–119.
  • “Texte et image dans l'Antiquité,” Perspective. La revue de l’Institut national d’histoire de l’art (2012): 11–28 (with Susanne Muth, Agnès Rouveret and Ruth Webb).
  • “‘A Tomb Both Great and Blameless’: Marriage and Murder on a Sarcophagus from the Hellespont,” Res: Anthropology and Aesthetics 61/62 (2012): 98–115.
  • “Greek Art and Archaeology,” in The Oxford Bibliography of Art, edited by T. da Costa Kauffman.  Oxford: Oxford University Press, forthcoming.

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