French art and literature from Symbolism through the early1930s and the history and theory of art photography (especially the work of James Agee, Guillaume Apollinaire, Peter Henry Emerson, Walker Evans, Michel Leiris, Frank Capra, Alfred Hitchcock, Joan Miró, and Pablo Picasso); theories of the interpretation and ontology of art.
2000 Ph.D., History of Art, The Johns Hopkins University, Baltimore Maryland
1995 M.A., History of Art, The Johns Hopkins University, Baltimore, Maryland
1988 B.A., Germanic Languages and Literatures, Yale University, New Haven, CT
Grants, Awards, & Residencies
2010-13, Alumni Memorial Term Distinguished Associate Professorship, College of William and Mary, Williamsburg, Va.
2010-11, Alternate, senior fellow, Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, D.C.
2009, Research fellow, Clark Art Institute, Williamstown, Massachusetts (February-June)
2005, Millard Meiss Publication Grant, College Art Association, for Fixed Ecstasy
2005, Spanish Ministry of Culture grant for Fixed Ecstasy
2005, PSC/CUNY Research Award for Fixed Ecstasy
2000, Dissertation awarded distinction
1998-1999, Bourse Chateaubriand, French Ministry of Foreign Affairs
1997-1998, Dedalus Foundation, dissertation fellowship
Photography as Money (book in preparation)
“Cubism and History” in Cubism Seminars (New Haven, Conn., and London: Yale University Press and Washington, D.C., CASVA)
Modernism and Authority: Picasso and His Milieu Around 1900 (Berkeley, Calif.: University of California Press, 2015)
“André Masson: Into the ‘Humus Humaine’” in Nothing But the Clouds Unchanged: Artists in World War One, ed. Gordon Hughes and Philipp Blom (Los Angeles: Getty Research Institute)
“Literary Criticism” in Michael Kelly, ed., Encyclopedia of Aesthetics, second ed. (Oxford and New York: Oxford University Press, 2014)
“Questions for Adams,” nonsite.org 12 (August 2014)
“Miró Projects” in Carmen Fernández Aparicio, Charles Palermo and Pere Portabella, Miró, The Experience of Seeing: Late Works, 1963-1981 (exh. cat., Seattle Art Museum, Seattle, Wash., February 13-May 25, 2014).
Reviews of The Brush and the Pen: Odilon Redon and Literature by Dario Gamboni, The Book as Instrument: Stephane Mallarmé, the Artist’s Book, and the Transformation of Print Culture by Arna Sigridur Arnar, and Aesthetic Rivalries: Word and Image in France, 1880-1926 by Linda Goddard, The Art Bulletin 95.2 (June 2013)
“Miró’s Politics,” nonsite.org 8 (January 2013)
Editor, Agency and Experience, nonsite.org 5 (March 2012), and Intention and Interpretation, nonsite.org 6 (June 2012)
“Responses to Davis, ‘Neurovisuality’,” nonsite.org 2 (June 2011)
“Picasso’s False Gods,” nonsite.org 1 (February 2011)
“A Project for Wholeness” in Picasso and Braque: The Cubist Experiment, 1910-12 (exh. cat., Kimbell Art Museum, May 22- August 21, 2011; Santa Barbara Museum of Art, September 17, 2011-January 2, 2012)
Fixed Ecstasy: Joan Miró in the 1920s, Refiguring Modernism (University Park, Penn.: Penn State University Press, 2008)
“The World in the Ground Glass: Transformations in P.H. Emerson’s Photography,” Art Bulletin 89.1 (March 2007): 130-47.
“Michel Leiris on Knowing,” MLN 120.4 (fall 2005): 825-48.
“Tactile Translucence: Miró, Leiris, Einstein,” October 97 (summer 2001): 31-50.
Courses Taught (selected)
Introductory Survey (Renaissance to present)
History of Photography
American Art Since 1945
Theories of Visual Culture
Let Us Now Praise Famous Me
Symbolism to Surrealism
Surrealism to High Modernism
Miró and Company
Post-War U.S. Art and Criticism
Picasso and His Circle
Problems in the History of Photography
Methods of Art History
Inheritances in Photography
Photography and Automatism
And directing numerous independent studies and honors theses.
Websites & Links
Charles Palermo is one of the editors of nonsite.org, a new, peer-reviewed scholarly on-line journal based at Emory University.