Yve-Alain Bois
Yve-Alain Bois is the Joseph Pulitzer, Jr., Professor of Modern Art at Harvard University. He has written extensively on 20th century art, from Matisse, Picasso, Malevich and Mondrian to post-war American art (among others: Barnett Newman, Ellsworth Kelly, Richard Serra, Robert Ryman, Brice Marden, Donald Judd, Edward Ruscha and Mel Bochner).
A collection of his essays, Painting as Model, has been published by M.I.T. Press in 1990. He co-organized the 1994-5 retrospective of Piet Mondrian in The Hague, Washington and New York. In 1996, he curated the exhibition “L’informe, mode d’emploi” with Rosalind Krauss at the Centre Georges Pompidou in Paris. The book accompanying this exhibition has recently been published in English under the title Formless: A User’s Guide (Zone Books, 1997).
He most recently curated the exhibitions “Matisse and Picasso: A Gentle Rivalry” at the Kimbell Museum of Art (Fort Worth, Texas), and “Ellsworth Kelly: The Early Drawings 1948-1955” at the Fogg Artt Museum (Cambridge, MA); this latter exhibition also circulated to the High Museum (Atlanta), the Chicago Art Institute, and three European Museums.
Bois is one of the editors of the journal October and a contributing editor of Artforum. He is currently preparing the catalogue raisonne of Barnett Newman.
Richard Brettell
Dr. Richard Brettell is a foremost authority on Impressionism and French Painting of the period 1830 – 1930. He has three degrees from Yale University and has taught at the University of Texas, Northwestern University, The University of Chicago, Yale University, and Harvard University. Currently, he is the Professor of Aesthetic Studies in the Interdisciplinary Program in Arts and Humanities at the University of Texas at Dallas where he has established the Center for the Interdisciplinary Study of Museums.
His recent books include Impression: Painting Quickly in France, 1860 -1900, Modern Art, 1851 – 1929: Capitalism and Representation, and Monet to Moore: The Millennium Gift of Sara Lee Corporation. His publications also include books on the work of Camille Pissarro, Edgar Degas, and Paul Gauguin, as well as studies of Impressionist landscape painting.
Dr. Brettell’s museum career began in 1980 at the Art Institute of Chicago as the Searle Curator of European Painting. In 1988, he became the McDermott Director of the Dallas Museum of Art. Since leaving that position in 1992, he has been involved with a variety of projects and organizations, including the Dixon Gallery and Gardens in Memphis, the Portland Museum of Art (Oregon), the Sara Lee Collection, the National Gallery of Australia, the Norton Simon Museum in Pasadena, California, and the National Gallery, London. He has delivered lectures at museums and universities throughout the world and has participated in a wide variety of cultural organizations.
