fine arts department
Chairperson, Art History
Ph.D., Institute of Fine Arts of New York University
Devlin Hall 431
Fields of Interest
Claude Cernuschi's major field of interest is 20th century art and theory. His research till now has focused primarily on Expressionism and Abstract Expressionism, with special attention to drawing interdisciplinary parallels between works of art and ideas stemming from fields such as psychology and philosophy. He received his Ph.D. from the Institute of Fine Arts of New York University in 1988.
- Barnett Newman and Heideggerian Philosophy (Fairleigh Dickinson University Press, 2012).
- Pollock Matters (co-edited with Ellen G. Landau) (McMullen Museum of Art, Boston College, 2007).
- Re/Casting Kokoschka: Ethics and Aesthetics, Epistemology and Politics in Fin-de Siècle Vienna (Fairleigh Dickinson University Press, 2002).
- "Not an Illustration, but the Equivalent”: A Cognitive Approach to Abstract Expressionism (Fairleigh Dickinson University Press, 1997).
- Jackson Pollock: Meaning and Significance (Harper Collins, 1992).
- Jackson Pollock: "Psychoanalytic" Drawings (Duke University Press, 1992).
Articles and Essays
- “The Self-Portraits of Gustave Courbet,” in Jeffery Howe (ed.) Gustave Courbet: Mapping Realism (McMullen Museum of Art, Boston College, 2013), pp. 31-58.
- “Painting with Drops, Jets, and Sheets,” (with Andrzej Herczynski, Physics Department, Boston College and L. Mahadevan, Physics Department, Harvard University) Parity 28 No 3(2013): 26-34 [Japanese translation of essay published in Physics Today (June 2011): 31-36.]
- “Paul Klee and Language,” in John Sallis (ed.) Paul Klee: Philosophical Vision; From Nature to Art (Chestnut Hill: McMullen Museum, Boston College, 2012), pp.106-33.
- “Defining Self in Kokoschka’s Self-Portraits,” German Quarterly 84 (Spring 2011): 198-219.
- “Painting with Drops, Jets, and Sheets,” (with Andrzej Herczynski, Physics Department, Boston College and L. Mahadevan, Physics Department, Harvard University) Physics Today (June 2011): 31-36.
- “Depth and Surface, Will and Representation: Egon Schiele and Arthur Schopenhauer,” in Jill Lloyd (ed.) Birth of the Modern; Style and identity in Vienna 1900 (New York: Mirmer Verlag, 2011), pp. 172-97.
- “Georges Rouault and the Rhetoric of Expressionism,” Religion and The Arts 12:4 (2008): 479-539.
- “The Subversion of Gravity in Jackson Pollock’s Abstractions.” (With Andrzej Herczynski, Physics Department, Boston College) The Art Bulletin 90 (December 2008): 616-639.
- “Rouault and Expressionism,” in Stephen Schloesser (ed.) Mystic Masque: Semblance and Reality in Georges Rouault, 1871-1958 (McMullen Museum of Art, Boston College, 2008), pp. 215-228.
- Cutting Pollock Down to Size: The Boundaries of the Poured Technique, (With Andrzej Herczynski, Physics Department, Boston College) in Ellen G. Landau and Claude Cernuschi (eds.) Pollock Matters (McMullen Museum of Art, Boston College, 2007), pp. 73-90.
- Abstract Expressionism and Fractal Geometry, (With Andrzej Herczynski, Physics Department, Boston College and David Martin, Computer Science Department, Boston College) in Ellen G. Landau and Claude Cernuschi (eds.) Pollock Matters (McMullen Museum of Art, Boston College, 2007), pp. 91-104.
- Freudian Themes in the Symbolist Work of George Minne, in Howe, Jeffery (ed.) A New Key: Modern Belgian Art from the Simon Collection (McMullen Museum of Art, Boston College, 2007), pp. 241-80.
- Adolf Loos, Alois Riegl, and the Debate on Ornament in Vienna 1900, in Sheila Blair and Jonathan Bloom (eds.) Cosmophilia: Islamic Art from the David Collection (McMullen Museum of Art, Boston College, 2006), pp. 45-56.
- Mindscapes and Mind Games: Visualizing Thought in the Work of Matta and His Abstract Expressionists Contemporaries, in Goizueta, Elizabeth (ed.) Matta: Making the Invisible Visible (McMullen Museum of Art, Boston College, 2004), pp. 48-80.
- “Anatomical Dissection and Religious Identification: A Wittgensteinian Response to Oskar Kokoschka’s Alternative Paradigms for Truth in his Self-Portraiture Prior to World War I,” in Natter, G. Tobias (ed.) Oskar Kokoschka: Early Portraits from Vienna and Berlin, 1909-1914 (New Haven: Yale University Press, 2002), pp. 43-49; also translated as “Anatomisches Sezieren und religiöse Identifikation: Eine Wittgensteinsche Antwort auf Oskar Kokoschkas Alternativparadigmen zur Wahrheitsfindung in seinen vor dem Ersten Weltkrieg enstandenen Selbstporträts,” in Oskar Kokoschka: Das Moderne Bildnis 1909 bis 1914 (Hamburg, Kunsthalle, 2002), pp. 43-49.
- “Sex and Psyche, Nature and Nurture, the Personal and the Political: Edvard Munch and German Expressionism,” in Howe, Jeffery (ed.) Edvard Munch: Psyche, Symbol and Expression, McMullen Museum of Art, Boston College, 2001, pp. 132-65.
- “The Application of Psychoanalysis to the Humanities: Science or Hermeneutics?” in The Plume and the Palette: Essays in Honor of Josephine von Henneberg (New York: Peter Lang, 2001), pp. 27-45.
- “Body and Soul: Oskar Kokoschka's The Warrior, Truth, and the Interchangeability of the Physical and Psychological in Fin-de-Siècle Vienna.” Art History 23 (March 2000): 56-87.
- “Oskar Kokoschka and Sigmund Freud: Parallel Logics in the Exegetical and Rhetorical Strategies of Expressionism and Psychoanalysis.” Word & Image 15 (October-December 1999): 351-380.
- “Pseudo-Science and Mythic Misogyny: Oskar Kokoschka's Murderer, Hope of Women.” Art Bulletin 81 (March 1999): 126-48.
- "Visual and Ideological Pluralism in Practice: Contemporary Irish Women Artists in Context,” in Conley, Alston and Grinnell, Jennifer (eds.) Re/Dressing Cathleen: Contemporary Works from Irish Women Artists, McMullen Museum of Art, Boston College, 1997, pp. 19-35.
- “Artist as Christ/Artist as Criminal: Oskar Kokoschka's Self-Portrait for Der Sturm, Myth, and the Construction of Identity in Vienna 1900,” Religion and the Arts 2 (1997): 93-127.
- “Franz Kline's Probst I: A Cognitive Approach to Gestural Abstraction.” Journal of the Museum of Fine Arts, Boston, 6 (1994): 76-98.
- “Communication Without Conventions?: Reading Mark Rothko's Abstractions.” Source: Notes in the History of Art 11 (Spring/Summer 1992): 65-69.
- “Mark Rothko's Mature Paintings: A Question of Content.” Arts Magazine, 60 (May 1986): 54-57.
Reviews and Book Reviews
- “Alston Conley,” and “Mary Armstrong,” Post Road 7 (Fall 2003): 73-74.
- “A Sum of Destructions: Picasso’s Cultures & The Creation of Cubism by Natasha Staller.” Amherst Magazine 55 (Spring 2003): 32, 34-35.”
- “The Politics of Abstract Expressionism.” [Review of David Craven’s Abstract Expressionism as Cultural Critique: Dissent During the McCarthy Period] Archives of American Art Journal 39 no. 1 & 2 (2000): 30-42.
- “Jackson Pollock at MoMA: On the Surface and Under the Rug.” [Review of Kirk Varnedoe and Pepe Karmel, Jackson Pollock] Archives of American Art Journal 38 no. 3 and 4 (2000): 30-38.
- "The Rothko Chapel in Houston: The Structure of Meaning or the Meaning of Structure?” [Review of Sheldon Nodelman's The Rothko Chapel Paintings: Origins, Structure, Meaning] Religion and the Arts 3-3/4 (1999): 454-475.
- “Mark Rothko from Alpha to Omega.” [Review of David Anfam, Mark Rothko: The Works on Canvas] Archives of American Art Journal 38 no. 1 and 2 (1999): 39-45.
Encyclopedia and Dictionary Entries
- “Jackson Pollock,” in Paul S. Boyer (ed.) The Oxford Companion to United States History (New York: Oxford University Press, 2001).
- “André Masson,” “Surrealism,” “Cubism,” “Picasso.” Essays in Microsoft's Encarta 2000 CD-Rom encyclopedia.
- “Jackson Pollock,” “Mark Rothko,” “Willem DeKooning,” “Hans Hofmann,” “Modern Art.” Essays in Microsoft's Encarta 99 CD-Rom encyclopedia.