Genevieve Hendricks

Genevieve Hendricks

In my experience, students are not drawn to Art History because they want to learn a particular critical approach: rather, they come to this subject with an enthusiasm for culture, a collection of ideas they hope to explore, and sometimes with misconceptions that merit reconsideration. By taking account of the fact that students approach this field from a variety of backgrounds, I design courses to facilitate the pursuit of their interests and also to encourage the exploration of less familiar aspects of visual culture. In particular, I want students to learn to analyze and examine effects of artistic developments with consideration of how such shifts shaped and reflected contemporary changes. As students become more nuanced observers of the world around them, they begin to gain a deeper understanding of constructed spaces as places of encounter and solitude, places for politics and policies transformed by design, and, finally, places of representation.

Areas of Expertise

  • Modern and Contemporary Art and Architecture

Courses Taught

  • Modern Art
  • Postmodern and Contemporary Art: 1960-2015
  • Feminism and Contemporary Art
  • Critical Methods of Art History
  • Global Architecture
  • Modern Architecture
  • Green by Design: Sustainable Architecture and the Environment
  • Paris in the 19th Century: Studios and Styles
  • Behind the Scenes at the Museum
  • History of Photography
  • American Art

Education

  • Ph.D., M.A., Institute of Fine Arts, New York University
  • B.A., University of Pennsylvania

Publications & Articles

  • “Touching the Body: Le Corbusier’s Figurative Works” in Le Corbusier: The Measures of Man. Paris: Centre Georges Pompidou, 2015: 120-127. Also published in French and German.
  • “Un architecte-peintre,” in Connaissance des arts, éditions hors-série, Paris, April, 2015: 23-31.
  • “Rue Nungesser-et-Coli: In the Painter’s Studio, in Search of an Expanded Syntax,” in Le Corbusier: An Atlas of Modern Landscapes. New York: Museum of Modern Art, 2013: 234-240.
  • "Evocative Objects and Sinuous Forms: Le Corbusier in the Thirties,” in Le Corbusier’s Secret Laboratory: From Painting to Architecture Berlin: Hatje Cantz Verlag, 2013: 180-195.

Accomplishments

  • Session Chair, “Art and Architectural Dialogues in the 20th Century,” Midwest Art History Society Conference, Cleveland, OH, April, 2017.
  • Artist Fellowship Selection Committee, SECAC Conference, Roanoke, VA, October, 2016
  • “Le Corbusier’s Postwar Painterly Mythologies,” International Conference: Le Corbusier, 50 Years Later, Universitat Politecnica de Valencia, Spain. November, 2015
  • “Charlotte Perriand and the Misery of Paris,” Utopia and Dystopia in the French Landscapes and Cityscapes of the 1930s, European Network for Avant-Garde and Modernism Studies conference, Helsinki, Finland. August, 2014.

Research Interests

My research has focused on correlations between painting and architecture during the 19th and 20th Centuries; as such, I have examined individual artists and architects as well as collective efforts, and analyzed works including paintings, drawings, photographs, architectural plans, and buildings.