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

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

Atkinson Faculty Development Award, Research in Europe, Willamette University, 2011-2012

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).
  • “The Drone in Social Imaginaries,” catalogue essay forthcoming in Art2Drone (College Art Association and v1b3, 2015).
  • “Surrealism and Cinematic Time: Hans Richter’s Vormittagsspuk (1927-1928),” forthcoming in Time and Temporality (Leuven University Press), 2014.
  • “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, 2014).
  • “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, 2014).
  • “’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).
  • “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.