Cris Hassold
Professor of Art History
Ph.D., Florida State University
M.A., Hunter College
B.A., University of Louisville
Professor Hassold teaches a number of period Art Historical Surveys: Twentieth-Century Painting; American Twentieth-Century Art; Nineteenth-Century Painting and Major Artists of the Baroque. Her commitment to gender studies is reflected in a number of courses ranging from "Film Noir and Masculinity" to "Women Artists through the Ages;" and gender theory courses such as "Madness and Modernism" and "Images of Women in the Twentieth Century."
She has long been interested in the transformation and deconstruction of identity in Twentieth-Century Art. She finds self-portraits of artists of particular interest and has written on Mallarmé's identification with a Faun, Picasso with the Minotaur, and Max Ernst with Lop Lop, the bird superior.
She has written on artists, who use cross-dressing to undermine gender constructions: Claude Cahun and Marcel Duchamp, or who present themselves as absent in their self portraits (Jim Dine's empty bathrobe), and others who accept double or even multiple identities (Cindy Sherman) in their creations of alter-ego. The deconstruction of identity obviously has important implications for the problem of who we are in modern culture. (As Foucault said "man is a recent invention and this invention seems already to have become obsolete.")
She has long been interested in the transformation and deconstruction of identity in Twentieth-Century Art. She finds self-portraits of artists of particular interest and has written on Mallarmé's identification with a Faun, Picasso with the Minotaur, and Max Ernst with Lop Lop, the bird superior.
She has written on artists, who use cross-dressing to undermine gender constructions: Claude Cahun and Marcel Duchamp, or who present themselves as absent in their self portraits (Jim Dine's empty bathrobe), and others who accept double or even multiple identities (Cindy Sherman) in their creations of alter-ego. The deconstruction of identity obviously has important implications for the problem of who we are in modern culture. (As Foucault said "man is a recent invention and this invention seems already to have become obsolete.")
