Abigail Susik

Assistant Professor of Art History
Specialty: Modern and Contemporary Art History


  • 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. At Willamette, Dr. Susik offers courses on nineteenth- through twenty-first-century Art History, The History of Photography, Methodologies of Art History, and specialized topics in Modern and Contemporary Art. Her exibition,“‘For Myself:’ Nudes by Imogen Cunningham 1906-1939,” will appear at the Hallie Ford Museum of Art inFebruary-May, 2016. She is an Associate Editor of Media-N, Journal of the New Media Caucus. 

Selected Awards

Council of Independent Colleges seminar fellow, The Art of Storytelling in French Painting and Sculpture 1600–1850,” Portland Art Museum in Portland, Oregon, July, 2015

Faculty Achievement Awards in Teaching and Research, Willamette University, 2015

Recent and Forthcoming Publications

  • “Chance and Automatism: Genealogies of the Dissociative in Dada and Surrealism,” forthcoming in Blackwell Companion to Dada and Surrealism, ed. David Hopkins (Wiley-Blackwell, 2015).
  • “Animistic Time in Hans Richter’s Vormittagsspuk (1927-1928),” forthcoming in Time and Temporality (Leuven University Press, 2015).
  • “Snobbism, Juvenilia and ‘The Children’s Corner:’ Carrington’s Contributions to S.NOB in1962,” forthcoming in Leonora Carrington and the International Avant-Garde, eds. Jonathan P. Eburne and Catriona McAra (Manchester University Press, 2015).
  • “Ocean Semiosis,” feature catalogue essay in Plastika Alaska, au. Andy Hughes with contributions by Mark Dion, Pam Longobardi, Nicholas Mallos, Howard Ferren,Carl Safina (Plastic Editions, 2015).
  • “Surrealism and Jules Verne: Depth of Subtext in a Collage by Max Ernst,”Surrealism, Science Fiction and Comics, ed. Gavin Parkinson (Liverpool University Press, 2015).
  • “The Drone in Social Imaginaries,” catalogue essay in Art2Drone (College Art Association and v1b3, 2015).
  • “’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). 103-123.
  • “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.