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FACULTY Faculty

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  • Jason Hill, Associate Professor and Associate Chair

    Associate Professor and Associate Chair
    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 visual culture, focusing on American art's longstanding and always dynamic relationship with the cultures of mass media and journalism. 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 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.

    Jason is 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, from the lithograph and wood-engraving to photojournalism and Flickr. His forthcoming book, Artist as Reporter: Weegee, Ad Reinhardt, and the PM News Picture, draws on the analytical resources of both art history and media studies in order to illuminate the pragmatic value of modern art's essential inquiry into problems of representation and medium in enriching the visual culture of print journalism in the 1940s, considering that newspaper's full gamut of communicative forms from page-design, exhibitions, photographs, and maps, to diagrams and comics. Both of these projects engage Jason's continuing commitment in understanding the productive place of art and its histories within (rather than against) modern culture's more expansive visual field.

    Selected Publications

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

    “Ad Reinhardt Assembles a News Picture,” in Nanni Baltzer and Martino Stierli, eds., The Montage Reader (Zurich: Park, 2016), forthcoming.

    “How to Look at News Pictures in America,” American Art (Summer 2016), forthcoming.

    “Sketch Reporting after Press Photography,” in Andrés Mario Zervigón and Sabine Kriebel, eds., Photography in Doubt (London: Routledge, 2016), forthcoming.

    “Noise Abatement Zone: John Divola’s Photographic Fulcrum,” in Jordan Bear and Kate Albers, eds., The Before and After Photograph (London: Bloomsbury, 2016), forthcoming.

    “Lisette Model’s Explanation: Ralph Steiner, PM, and the Journalistic Frame,” Oxford Art Journal 38.1 (Spring 2015).

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

    “Snap-Shot: After Bullet Hit Gaynor,” and “Introduction,” in Jason E. Hill and Vanessa R. Schwartz, eds., Getting the Picture (London: Bloomsbury, 2015).

    “In the Police Wagon, in the Press, and in The Museum of Modern Art (A Note on Weegee’s Frank Pape, Arrested for Homicide, November 10, 1944).” In Mitra Abbaspour, Lee Ann Daffner, and Maria Morris Hambourg, eds. Object:Photo. Modern Photographs: The Thomas Walther Collection 1909–1949. An Online Project of The Museum of Modern Art. New York: The Museum of Modern Art, 2014.

    “American Art and Mass Media: Commentaries,” editor, with Elisa Schaar, American Art 27.2 (Summer 2013).

    “Training a Sensibility: Notes on American Art and Mass Media,” with Elisa Schaar, American Art 27.2 (Summer 2013), 2-9.

    “De l’efficacité de l’artifice: PM, radiophoto et discours journalistique sur l’objectivité photographique (On the Efficacy of Artifice: PM, Radiophoto, and the Journalistic Discourse of Photographic Objectivity), ”Études Photographiques 26 (November 2010), 51-85, published in English and French.

    “The Camera and the ‘Physiognomical Auto-da-fé’: Photography, History, and Race in Two Recent Works by Ken Gonzales-Day,” X-TRA 11.3 (Spring 2009), 16-24.​

 

 

205 Mechanical HallNewark, DE 19716<div class="ExternalClass5101C2FBD68947D8BCC29831AEF3506D"><p>Professor <strong>Jason Hill</strong> specializes in the histories of modern and contemporary art, photography, and visual culture, focusing on American art's longstanding and always dynamic relationship with the cultures of mass media and journalism. 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 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.</p><p>Jason is co-editor (with Vanessa R. Schwartz) of  <a target="_blank" href="http://www.bloomsbury.com/us/getting-the-picture-9781472526496/%5d"><em>Getting the Picture: The Visual Culture of the News </em></a>(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, from the lithograph and wood-engraving to photojournalism and Flickr. His forthcoming book, <em>Artist as Reporter: Weegee, Ad Reinhardt, and the </em>PM<em> News Picture,</em> draws on the analytical resources of both art history and media studies in order to illuminate the pragmatic value of modern art's essential inquiry into problems of representation and medium in enriching the visual culture of print journalism in the 1940s, considering that newspaper's full gamut of communicative forms from page-design, exhibitions, photographs, and maps, to diagrams and comics. Both of these projects engage Jason's continuing commitment in understanding the productive place of art and its histories within (rather than against) modern culture's more expansive visual field.</p></div><div class="ExternalClassE1ED4BC0866046009BAB71D99CEFEB43"><p>​<em>Artist as Reporter: Weegee, Ad Reinhardt, and the </em>PM<em> News Picture</em> (Berkeley: University of California Press), 2018.</p><p>“Ad Reinhardt Assembles a News Picture,” in Nanni Baltzer and Martino Stierli, eds., <em>The Montage Reader</em> (Zurich: Park, 2016), forthcoming.</p><p>“How to Look at News Pictures in America,” <em>American Art</em> (Summer 2016), forthcoming.</p><p>“Sketch Reporting after Press Photography,” in Andrés Mario Zervigón and Sabine Kriebel, eds., <em>Photography in Doubt</em> (London: Routledge, 2016), forthcoming.</p><p>“Noise Abatement Zone: John Divola’s Photographic Fulcrum,” in Jordan Bear and Kate Albers, eds., <em>The Before and After Photograph</em> (London: Bloomsbury, 2016), forthcoming.</p><p>“Lisette Model’s Explanation: Ralph Steiner, <em>PM</em>, and the Journalistic Frame,” <em>Oxford Art Journal</em> 38.1 (Spring 2015).</p><p><em>Getting the Picture: The Visual Culture of the News</em>, collection co-edited with Vanessa R. Schwartz (London: Bloomsbury, 2015).</p><p>“Snap-Shot: After Bullet Hit Gaynor,” and “Introduction,” in Jason E. Hill and Vanessa R. Schwartz, eds., <em>Getting the Picture</em> (London: Bloomsbury, 2015).</p><p>“In the Police Wagon, in the Press, and in The Museum of Modern Art (A Note on Weegee’s Frank Pape, Arrested for Homicide, November 10, 1944).” In Mitra Abbaspour, Lee Ann Daffner, and Maria Morris Hambourg, eds. <em>Object:Photo. Modern Photographs: The Thomas Walther Collection 1909–1949</em>. An Online Project of The Museum of Modern Art. New York: The Museum of Modern Art, 2014.</p><p>“American Art and Mass Media: Commentaries,” editor, with Elisa Schaar, <em>American Art</em> 27.2 (Summer 2013).</p><p>“Training a Sensibility: Notes on American Art and Mass Media,” with Elisa Schaar, <em>American Art</em> 27.2 (Summer 2013), 2-9.</p><p>“De l’efficacité de l’artifice: <em>PM</em>, radiophoto et discours journalistique sur l’objectivité photographique (On the Efficacy of Artifice: <em>PM</em>, Radiophoto, and the Journalistic Discourse of Photographic Objectivity), ”<em>Études Photographiques</em> 26 (November 2010), 51-85, published in English and French.</p><p>“The Camera and the ‘Physiognomical Auto-da-fé’: Photography, History, and Race in Two Recent Works by Ken Gonzales-Day,” <em>X-TRA</em> 11.3 (Spring 2009), 16-24.​</p></div>Selected Publicationsjehill@udel.edu/Documents Bios CVs/hill-cv.pdfHill, Jason302-831-6901<img alt="Jason Hill" src="/Images%20Bios/People/Faculty/hill-bio.jpg" style="BORDER:0px solid;" />Associate Professor and Associate ChairModern and Contemporary Art and Visual CulturePh.D. University of Southern California

 

 

Artist 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 NewsHill, Jasonand Vanessa R. Schwartz, eds.BloomsburyLondon2015https://www.bloomsbury.com/us/getting-the-picture-9781472526496/<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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  • Department of Art History
  • University of Delaware
  • 318 Old College
  • Newark, DE 19716 USA
  • Phone: 302-831-8415
  • arthistory@udel.edu