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Jason Hill

Associate Professor
Modern and Contemporary Art and Visual Culture
Ph.D. University of Southern California
University of Delaware
205 Mechanical Hall
Newark, DE 19716
302-831-6901
 

Biography

Professor Jason Hill specializes in the histories of modern and contemporary art, photography, and media, focusing on American art's longstanding and always dynamic relationship with the cultures of mass media and journalism. He is presently writing a book that considers the technological and cultural alignments of lens-based news media and police in the United States since the widespread introduction of police radio systems in the 1930s.

Jason's recent book, Artist as Reporter: Weegee, Ad Reinhardt, and the PM News Picture (2018), considers this 1940s New York City newspaper's activation of creative visual media (especially cartooning, illustration, and photography) in the service of combatting both fascism and the related dangers inherent in journalism's otherwise normative claims to objectivity. He is also co-editor (with Vanessa R. Schwartz) of Getting the Picture: The Visual Culture of the News (Bloomsbury, 2015), which assembles an interdisciplinary and international team of scholars to chart the shifting terrain of pictorial journalism from the early nineteenth century to the present.

Jason received his Ph.D. in Art History at the University of Southern California in 2011, where he also completed the Visual Studies Graduate Certificate. He completed his M.A. in Art History at Tufts University in 2004 and his B.A. in Political Science at the University of Massachusetts, Amherst in 2001. Before that he was a painting major at Mass Art. Prior to joining the Department of Art History at the University of Delaware in 2015, Jason was 2014-15 Andrew W. Mellon Fellow at the New-York Historical Society and 2011-13 Terra Foundation Fellow at the Institut National d'Histoire de l'Art in Paris. He has also taught at the École Normale Supérieure, Sciences Po, Université Paris X Nanterre, and UNLV.

Selected Publications

"An Exact Instant in the History of the Modern," in Sandra Zalman and Austin Porter, eds., Modern in the Making: MoMA and the Modern Experiment (London: Bloomsbury, 2020).

"On Deadline: LIFE as a Weekly Newsmagazine," in  Katherine Bussard and Kristen Gresh, eds., The Power of LIFE: LIFE Magazine and American Photography, 1936-1972 (Princeton: Princeton University Art Museum/Yale University Press, 2020).

"Weegee, Standing By," in Stephanie Schwartz, ed., "Street Photography Reframed," special issue of Arts (2019).

"Out of the Loop," in Elisa Schaar, ed., Do I Have to Draw You A Picture? (Cambridge: Heong Gallery, Cambridge University, 2018).

Artist as Reporter: Weegee, Ad Reinhardt, and the PM News Picture (Berkeley: University of California Press), 2018.

"Noise Abatement Zone: John Divola's Photographic Fulcrum," in Jordan Bear and Kate Albers, eds., Before-and-After Photography: Histories and Contexts (London: Bloomsbury, 2017).

"A Mountain Crossing," for Patricia Fernández Carcedo: Cinco Caminos de Partida (Burgos: Centre de Arte, 2016).

Getting the Picture: The Visual Culture of the News, collection co-edited with Vanessa R. Schwartz (London: Bloomsbury, 2015).

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Artist as Reporter: Weegee, Ad Reinhardt, and the PM News Picturehttps://www.arthistory.udel.edu/Arth Bookshelf/hill-artist-reporter.jpgArtist as Reporter: Weegee, Ad Reinhardt, and the PM News PictureHill, JasonUniversity of California PressBerkeley2018https://www.ucpress.edu/book/9780520291430/artist-as-reporter<p>Active from 1940 to 1948, <em>PM</em> was a progressive New York City daily tabloid newspaper committed to the politics of labor, social justice, and antifascism--and it prioritized the intelligent and critical deployment of pictures and their perception as paramount in these campaigns. With <em>PM</em> as its main focus, <em>Artist as Reporter</em> offers a substantial intervention in the literature on American journalism, photography, and modern art. The book considers the journalistic contributions to <em>PM</em> of such signal American modernists as the curator Holger Cahill, the abstract painter Ad Reinhardt, the photographers Weegee and Lisette Model, and the filmmaker, photographer, and editor Ralph Steiner. Each of its five chapters explores one dimension of the tabloid's complex journalistic activation of modernism's potential, showing how <em>PM</em> inserted into daily print journalism the most innovative critical thinking in the fields of painting, illustration, cartooning, and the lens-based arts. <em>Artist as Reporter</em> promises to revise our own understanding of midcentury American modernism and the nature of its relationship to the wider media and public culture.<br></p>
Getting the Picture: The Visual Culture of Newshttps://www.arthistory.udel.edu/Arth Bookshelf/hill-getting-picture.jpgGetting the Picture: The Visual Culture of NewsHill, Jasonand Vanessa R. Schwartz, eds.BloomsburyLondon2015https://www.amazon.com/Getting-Picture-Visual-Culture-News/dp/147252649X<p>Powerful and often controversial, news pictures promise to make the world at once immediate and knowable. For the first time, this volume defines what counts as a news picture, how pictures are selected and distributed, where they are seen and how we critique and value them. Presenting the best new thinking on this fascinating topic, this book considers the news picture from the dawn of the illustrated press in the nineteenth century, through to today's digital platforms. It examines the many kinds of images: sport, fashion, society, celebrity, war, catastrophe and exoticism; and many mediums, including photography, painting, wood engraving, film and video. Packed with the best research and full colour-illustrations throughout, this book will appeal to students and readers interested in how news and history are key sources of our rich visual culture.<br></p>

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