Art History: Twentieth-century Andean art, Latin American artists in Europe
Professor Greet is Associate Professor of Art History and affiliated faculty in Latin American Studies, Cultural Studies, Honors, and Women's Studies. She is also president of the Association for Latin American Art. She received her Ph.D. in Modern Latin American art from the Institute of Fine Arts, New York University in 2004. Her monograph, Transatlantic Encounters: Latin American Artists in Paris between the Wars, 1918-1939, is forthcoming with Yale University Press. To support the research and writing of this manuscript she received a research fellowship from The Phillips Collection in Washington, DC, as well as a National Endowment for the Humanities Fellowship. She is also curating a major traveling exhibition on the topic with the American Federation of Arts (2019). Her first book, Beyond National Identity: Pictorial Indigenism as a Modernist Strategy in Andean Art, 1920-1960, came out with Penn State University Press’s Refiguring Modernism Series in 2009, and was funded by a Getty Foundation publication grant. Her new research project picks up where this book left off and focuses on the emergence of abstraction in the Andes. Prior to coming to George Mason she worked in various capacities for El Museo del Barrio, the Metropolitan Museum of Art and the College Art Association and taught at the Fashion Institute of Technology, Pratt Institute, Baruch College, Hunter College and the School for Visual Arts in New York City. She has lectured on Mexican muralism, Latin American women artists, the Ecuadorian vanguard, colonial Peruvian art, and Latin American artists in Paris.
Abstraction in the Andes: an exploration of abstract tendencies in post-War art in Ecuador, Peru, and Bolivia
Transatlantic Encounters: Latin American Artists in Paris between the Wars (Yale University Press, 2018).
Beyond National Identity: Pictorial Indigenism as a Modernist Strategy in Andean Art, 1920-1960, “Refiguring Modernism: Arts, Literatures and Sciences” series, Penn State University Press, 2009.
Art Museums of Latin America: Structuring Representation (Routledge, Research in Art Museums and Exhibitions series, 2018). Co-editor with Gina M. Tarver
Journal articles/catalogue essays:
“An International Proving Ground: Latin American Artists at the Paris Salons,” special issue: The Americas in the dynamics of global visual culture from 17th to 20th century: circulation / exchange / materiality, Mundo Nuevo Nuevos Mundos (2017) https://nuevomundo.revues.org/70847.
“Rivera and the Language of Classicism,” in Picasso and Rivera: Conversations Across Time. Exh. Cat. Los Angeles County Museum of Art, 2016.
“Mapping Cultural Exchange: Latin American Artists in Paris between the Wars.” Circulations in the Global History of Art; Studies in Art Historiography series. Thomas DaCosta Kaufmann, Catherine Dossin, and Béatrice Joyeux-Prunel eds. Ashgate: 2015, 133-147.
“Devouring Surrealism: Tarsila do Amaral’s Abaporu.” Papers of Surrealism. Issue 11, spring 2015: 1-39. http://www.surrealismcentre.ac.uk/papersofsurrealism/journal11/index.htm
“Occupying Paris: The First Survey Exhibition of Latin American Art.” Journal of Curatorial Studies Volume 3, Numbers 2+3, June-October 2014: 212-237.
“From Cubism to Muralism: Angel Zárraga in Paris,” Ángel Zárraga. Retrospectiva, Ex. cat., Mexico City: Museo del Palacio de Bellas Artes (Apr.-Jul. 2014).
“’Exhilarating Exile’: Four Latin American Women Exhibit in Paris.” Artelogie: Revue de recherches sur les arts, le patrimoine et la littérature de l'Amérique Latine. No. 5, Fall 2013, http://cral.in2p3.fr/artelogie/spip.php?article262
“César Moro’s Transnational Surrealism.” Journal for Surrealism and the Americas Vol 7, No 1 (2013)19-51. https://jsa.hida.asu.edu/index.php/jsa/article/view/115/112
“From Indigenism to Surrealism: Camilo Egas in New York, 1927-1946.” Nexus: New York, 1900-1945: Encounters In The Modern Metropolis. Ex. Cat. New Haven and London: Yale University Press and El Museo del Barrio, 2009.
“Manifestations of Masculinity: The Indigenous Body as a Site for Modernist Experimentation in Andean Art.” Brújula: revista interdisciplinaria sobre estudios latinoamericanos. Art and Encounters. December 2007, vol. 6 no. 1: 57-74.
“Pintar la nación indígena como una estrategia modernista en la obra de Eduardo Kingman.” Revista de Historia Procesos, Universidad Andina Simón Bolívar. October 2007, no. 25: 93-119.
“Inventing Wifredo Lam: The Parisian Avant-Garde’s Primitivist Fixation” Invisible Culture: An Electronic Journal for Visual Culture. Issue 5: Visual Culture and National Identity, Jan 2005.
Millard Meiss Publication Grant for Transatlantic Encounters: Latin American Artists in Paris between the Wars (2016)
National Endowment for the Humanities Fellowship to support the writing of book manuscript Transatlantic Encounters: Latin American Artists in Paris between the Wars (2012-2013)
Post-Doctoral Research Fellowship at the Center for the Study of Modern Art, The Phillips Collection, Washington, DC (2008-2009)
Getty Foundation publication grant for Penn State University Press’s series “Refiguring Modernism: Arts, Literatures and Sciences.”(2008)
LAS 100 Introduction to Latin American Studies (team taught)
HNRS 122 Reading the Arts
ARTH 201 Survey of Western Art II
ARTH 204 Survey of Latin American Art
ARTH 360 Nineteenth-Century European Art
ARTH 362 Twentieth-Century European Art
ARTH 376 Twentieth-Century Latin American Art
ARTH 374 Art Now
ARTH 394 The Museum
ARTH 400 Historiography and Methods of Research in Art History
ARTH 460/599 Transatlantic Encounters in Twentieth-Century European and Latin American Art
ARTH 472/599 Latin American Art: Mexican Muralism
ARTH 492 Honors Directed Reading
ARTH 493 Honors Directed Research
ARTH 499/599 Curating an Exhibition
ARTH 600 Historiography and Methods of Research in Art History (graduate)
ARTH 601 Colloquium (graduate)
ARTH 699 Transnational Surrealism (graduate)
ARTH 699 Latin American Vanguards (graduate)
CULT 880 Independent Study
ARTH 699: Transnational Surrealism
ARTH 699: Latin American Vanguards
Ph.D. 2004, Institute of Fine Arts, New York University
M.A. 1998, Hunter College, City University of New York
B.A. 1993, Bowdoin College (Magna Cum Laude; James Bowdoin Scholar)
Beyond Anthropophagy: Cultural Modernities between Brazil and France, Northwestern University, Evanston, IL. Paper: “Vicente do Rego Monteiro’s Quelques visages de Paris: A Cultural Parody” (2017)
Encuentro de Historia del Arte: Diálogos en torno al arte modern ecuatoriano, Universidad Central del Ecuador, Quito. Guest Lecture: “Artistas Latinoamericanos en París” (2017)
The Birth of the Museum in Latin America, The Getty Research Institute, Los Angeles, CA. Paper: “Structuring Representation: Art Museums of Latin America” (2017)
Los Angeles Country Museum of Art, Los Angeles. Guest Lecture (conversation with Jennifer Stager): “Modernism and Classicism, Picasso and Rivera” (in conjunction with Picasso and Rivera: Conversations across Time” exhibition) (2017)
World Bank Art Program, Washington, DC. Guest Lecture: “Transatlantic Encounters: Latin American Artists in Early 20th century Paris” (2017)
Cold Atlantic: Cultural War, Dissident Artistic Practices, Networks and Contact Zones at the Time of the Iron Curtain, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. Paper: “Andean Abstraction as Displayed at the OAS” (2016)
Latin American Studies Association Annual Conference, New York, NY Paper: “Defining “Latin American Art”: Raymond Cogniat, Parisian Critic” (2016)
Latin American Studies Association Annual Conference, San Juan, Puerto Rico, Chair: Negotiating Identity: The Art Museum in Latin America - Visual Culture Studies Section, sponsored session (2015)
Interviewed for documentary “Camilo Egas: Hombre Secreto” by Santiago Carcelén, Ecuadorian Ministry of Culture, 2009.
Olga Ulloa-Herrera, The US State, The Private Sector, and Modern Art in South America 1940-1943 (2014)