Abigail Susik
  • Abigail Susik
  • Assistant Professor of Art History
  • Modern and Contemporary Art History
  • Ford Hall, Room 308

Abigail Susik


  • B.A., Barnard College, Columbia University
  • M.A., Ph.D., Columbia University

Research and Teaching

Professor Susik's primary area of expertise is Modern Art History and Theory, with a research focus on issues of culture and aesthetics in the European avant-gardes between the World Wars. A secondary research area includes New Media aesthetics in Contemporary art. After a decade of teaching experience in New York City and elsewhere, Dr. Susik offers courses at Willamette University related to nineteenth- through twenty-first-century Art History, The History of Photography, Methodologies of Art History, and specialized topics in Modern and Contemporary Art. She is an Associate Editor of Media-N, Journal of the New Media Caucus.

Selected Awards

Council of Independent Colleges seminar fellow, The Art of Storytelling in French Painting and Sculpture 1600–1850,” Portland Art Museum in Portland, Oregon, July, 2015

Mellon-funded Liberal Arts Research Collaborative (LARC), “Remediation,” Willamette University, 2013

Millsaps College Postdoctoral Fellowship, 2009-2011

Selected Recent and Forthcoming Publications

  • “Surrealism and Automatism,” forthcoming in, Blackwell Companion to Dada and Surrealism, ed. David Hopkins (Wiley-Blackwell, 2015).
  • “Animistic Time in Hans Richter’s Vormittagsspuk (1927-1928),” forthcoming in Time and Temporality (Leuven University Press), 2015.
  • “Black Humor in the ‘Children’s Corner:’ Carrington and S.NOB in Mexico City, 1962,” forthcoming in Leonora Carrington and the International Avant-Garde, eds. Jonathan P. Eburne and Catriona McAra (Manchester University Press, 2015).
  • “Surrealism and Jules Verne: Depth of Subtext in a Collage by Max Ernst,” forthcoming in Surrealism, Science Fiction and Comics, ed. Gavin Parkinson (Liverpool University Press, 2015).
  • “The Drone in Social Imaginaries,” catalogue essay in Art2Drone (College Art Association and v1b3, 2015).
  • “’The Perpetration of the Cultural Act:’ Interview with Rafael Lozano-Hemmer,” Media-N, fall 2014, vol. 11, no. 3.
  • “Consuming and Consumed: Woman as Habituée in Eugène Grasset’s Morphinomaniac (1897),” Decadence, Degeneration and the End: Studies in the European Fin de Siècle, eds. Marja Härmänmaa and Christopher Nissen (Palgrave Macmillan, 2014). 103-123.
  • “Mimesis, Coding, Programming: Considerations on the Meta-Image and the Microcontroller in New Media Art,” Meta- and Inter-Images in Contemporary Visual Art and Culture, ed. Carla Taban (Leuven University Press, 2013). 281-297.
  • “The Screen Politics of Architectural Projection,” Public: Art, Culture, Ideas, vol. 45, “Civic Spectacle,” spring 2012. 106-119.
  • “Sky Projectors, Portapaks and Projection Bombing: the Rise of a Portable Projection Medium,” Journal of Film and Video, special double issue on video history, vol. 64, nos. 1-2, spring/summer, 2012. 79-92.
  • “Convergence Zone: The Aesthetics and Politics of the Ocean in Contemporary Art and Photography,” feature essay in Drain Magazine, vol. 15, “Supernature,” spring 2012. N.p.
  • “Remarks on the Commodity Status and Critical Applications of the Surrealist Outmoded," The Great Divide? High and Low Culture in the Avant-Garde and Modernism, European Avant-Garde and Modernism Studies, vol. 2 (De Gruyter, 2011). 323-339.
  • “‘The Man of these Infinite Possibilities’: Max Ernst’s Cinematic Collages,” Contemporaneity: Historical Presence in Visual Culture, vol. 1, summer 2011. 62-87.
  • “Cy Twombly: Writing after Writing,” Rebus: A Journal of Theory and Art History, no. 3, winter 2009. 1-28.