Ashley Lazevnick studies 20th-century American art under Professor Rachael DeLue. Her dissertation, “Precisionism in the Long 1920s,” reconsiders the American Precisionist movement by investigating the term “precision” in art criticism, poetry, philosophy, and science in the 1920s and 1930s. Her larger, recurring questions concern the nature of art writing tout court: the paradoxical impulse to ascribe words to visual creations, the use of non-normative genres (such as poetry) in reframing critical approaches to art, and the crucial role writing plays in the construction of art history’s evolving cannon. With fellow art and archaeology graduate student Sonia de Laforcade, she co-organized a series of workshops and panel discussion titled “The Matter of Writing” during the 2013–14 academic year.
Ashley received a B.A. in art history and English from Colgate University in 2010 and an M.A. in the history of art from Williams College in 2012. She currently holds the Wyeth Foundation Pre-doctoral Fellowship at the Smithsonian American Art Museum in Washington, D.C.
“Inhuman Portraits: The Machine-Man in American Modernism,” in Hermeneutik des Gesichts: Aktuelle Positionen der Porträtforschung, Schriften des Internationalen Warburg Kollegs 5, ed. Uwe Fleckner (Akademie Verlag, forthcoming).
“Impossible Descriptions: Mina Loy and Constantin Brancusi’s Golden Bird,” Word & Image 29.2, Special Issue, New Perspectives on Ekphrasis (Spring 2013).
“The Soul in the Machine: Charles Sheeler and His Classic Landscape,” Athanor 31 (2013).
“Came not by usura: Dorothy Shakespear’s Unpublished Illustrations of Cantos XXVIII–LI,” in Ezra Pound and Education, ed. Steven G. Yao and Michael Coyle (National Poetry Foundation, 2012).
Elements of Motion, exhibition catalogue, Porter Studios, Hamilton, NY (October 2009).