Emmelyn Butterfield-Rosen is associate director of the Williams Graduate Program in the History of Art at the Clark Art Institute. She specializes in modern art and cultural history, primarily in Europe. Relations between modern art and modern sciences of the human subject are a guiding preoccupation of her teaching and research. Broad areas of interest include the history of art history and archaeology, the history of art criticism, philosophical and scientific theories of the aesthetic, archaism and primitivisms, interactions between the visual and performing arts, the history of dance and early film, theories of gesture and corporeal expression, and the history of biology, psychology and psychoanalysis, especially with reference to the history of sexuality.
At Princeton, her doctoral work was supervised by Professor Brigid Doherty. Her dissertation won the Department's Jane Faggen Dissertation Prize, and was supported by a three-year David E. Finley Fellowship from the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC.
Her first book, Modern Art and the Remaking of Human Disposition, is forthcoming from University of Chicago Press in August 2021.
“A History of Violence,” review of “Félix Fénéon: The Anarchist and the Avant-Garde” (MoMA), Artforum 59, no. 6 (April 2021): 118–127, 159.
“The Hierarchy of Genres and the Hierarchy of Life-Forms,” Res: Anthropology and Aesthetics 73/74 (Spring/Autumn 2020): 76-93.
“The Modern Woman, review of “Posing Modernity” (Wallach Art Gallery) and “Le modèle noir” (Musée d’Orsay) Artforum 58, no. 2 (October 2019): 188-200.
“Mannequin and Monkey in Seurat's Grande Jatte.” In Fashion in European Art: Dress and Identity, Politics and the Body, 1775-1925, edited by Justine de Young (London: I.B. Tauris, 2017), 150-177.