Gough_300x342Maria Gough

Joseph Pulitzer, Jr. Professor of Modern Art

Maria Gough studied law, philosophy, and history of art at the University of Melbourne, and completed an MA (1990) and PhD (1997) in history of art at Johns Hopkins and Harvard, respectively.  Before joining the faculty in 2009, she was William Wilhartz Assistant Professor of the History of Art at the University of Michigan (1996-2003) and Associate Professor of Art History at Stanford University (2003-2009).  

At Harvard her primary area of research and teaching is early twentieth-century European art, with a particular emphasis on the Russian and Soviet avant-gardes, Weimar aesthetics, and French modernism.  Tackling problems in the history of abstraction, drawing, sculpture, para-architecture, photography, print media, propaganda, exhibition design, museology, and the relationship between aesthetics and politics, her research has appeared in journals such as October, New German Critique, RES: Journal of Anthropology and Aesthetics, Modernism/modernity, Parkett, Artforum, and the Cahiers du Musée national d'art moderne, and also in numerous exhibition catalogues. Her book on the Constructivist debates of the 1920s, The Artist as Producer: Russian Constructivism in Revolution, was published by the University of California Press in 2005.  She also writes occasionally about post-war and contemporary art, including essays on artists such as Frank Stella, On Kawara, Buckminster Fuller, Tatiana Trouvé, Josiah McElheny, and Monika Sosnowska.

Among her most recent publications are “Drawing between Reportage and Memory: Diego Rivera’s Moscow Sketchbook,” October (Fall 2013);  “Lissitzky on Broadway,” in The Thomas Walther Collection (MoMA, 2014);  “From Machine to Easel,” in Gustavs Klucis: Complete Catalogue of Works in the Latvian Museum of Art, ed. Iveta Derkusova (Latvijas Nacionālais mākslas muzejs, 2014);  “Architecture as Such,” in Malevich, ed. Achim Borchardt-Hume (Tate Modern, 2014);  “Model Exhibition,” October (Fall 2014);  and “The Newsreader,” in On Kawara—Silence, ed. Jeffrey Weiss (Guggenheim Museum, 2015).  Her essay, “You can Draw with Whatever You Like," which belongs to a quartet of essays on Fernand Léger’s graphic practice, is forthcoming in The Cubism Seminars, ed. Harry Cooper (National Gallery of Art, 2017).  

Gough is a member of the Editorial Board of Modernism/modernity, the International Advisory Board of Art History, the Editorial Board of Power Publications, and the Advisory Board of Grey Room. 

A recipient of the Paul Mellon Predoctoral Fellowship at CASVA (992-95), and fellowships from the Getty Grant Program (2000-01), Clark Art Institute (2001), Radcliffe Institute for Advanced Study (2011-12), and the Guggenheim Foundation (2015-16), Gough is currently on leave to complete two book manuscripts, one on the drawings of Gustavs Klucis, and another on the photographic practices of foreign travelers in the Soviet Union during the 1930s.