Abigail Susik

Associate 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 20th-century surrealism. A secondary research area includes New Media aesthetics in contemporary art. At Willamette, Dr. Susik offers courses on 18th- through 21st-century Art History, The History of Photography, Methodologies of Art History, and specialized topics in Modern and Contemporary Art. Her exhibition,“‘For Myself:’ Nudes by Imogen Cunningham 1906-1939,” appeared at the Hallie Ford Museum of Art, February-May, 2016. She is an Associate Editor of the College Art Association publication, Media-N, Journal of the New Media Caucus and a member of the New Media Caucus Board of Directors. She is a founding board member of the International Society for the Study of Surrealism, established in 2016, and a co-organizer of the first ISSS annual conference in 2018.

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

Curated Exhibitions

"For Myself": Nudes by Imogen Cunningham, 1906-1939, Hallie Ford Museum of Art, February 13 – May 1, 2016

Recent and Forthcoming Publications

"Art History Hacked: Art Hack Practice as Intra-garde,” forthcoming in Art Hack Practice: Sites for Artistic Co-Production, eds. Victoria Bradbury and Suzy O’Hara (Routledge, 2019).

“Panique,” “Beauty,” and “Poetics,” forthcoming in The Encyclopedia of Surrealism, ed. in chief: Michael Richardson; eds.: Dawn Ades, Krzysztof Fijalkowski, Steven Harris, Georges Sebbag (Bloomsbury Press, 2017).

“Chance and Automatism: Genealogies of the Dissociative in Dada and Surrealism,” Blackwell Companion to Dada and Surrealism, ed. David Hopkins (Wiley-Blackwell, 2016).

“Animistic Time in Hans Richter’s Vormittagsspuk (1927-1928)," Time and Temporality (Leuven University Press, 2016).

“Snobbism, Juvenilia and ‘The Children’s Corner:’ Carrington’s Contributions to S.NOB in1962,” Leonora Carrington and the International Avant-Garde, eds. Jonathan P. Eburne and Catriona McAra (Manchester University Press, 2016).

 “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). 6-11.

“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). 16-39.

“The Drone in Social Imaginaries,” catalogue essay in Art2Drone (College Art Association and v1b3, 2015). 10-12.

“’The Perpetration of the Cultural Act:’ Interview with Rafael Lozano-Hemmer,” Media-N, fall 2014, vol. 11, no. 3. 111-113.

“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.