Jill Bugajski
Jill Bugajski (Ph.D. Northwestern University; M.A. Courtauld Institute of Art; B.A. DePaul University) is Executive Director of Academic Engagement and Research (AER) at the Art Institute of Chicago. Under Curatorial Affairs, AER works to advance interdisciplinary, exploratory research on the museum's collections and supports collaborations between professors, students, scholars, artists, and museum staff, including fellowship programs and scholarly initiatives.
A historian of American art, Jill is primarily interested in the intersections between American Modernism and the transnational cultural politics of the United States in the 1930s–1960s, coincident with the Great Depression, World War II and the Cold War. Beyond the global dialogues of Modernism, Jill's research interests include: history of design and technology; the history of posters and printmaking practices; performance theory and the political public sphere, and cultural activism to the present day. She has taught courses on diverse topics, including the History of American Art, History of Graphic Design, History of Modernism and a methodology seminar on Materiality, for Northwestern University, the University of Chicago and Loyola University. Specific topics of ongoing research include: the 1939 World's Fair in New York, American artist Rockwell Kent, the posters of the Think American Institute (TAI), WWII Soviet TASS agency posters and their American reception, the relationship between printmaking and evolving ideas of American democracy, and ephemeral public activist art of the 1930s-40s.
The 2017 exhibition "GO" at the Art Institute of Chicago, the second in the museum's Modern Series, was co-curated by Jill and Kate Nesin. In 2014-15 she co-curated, with John Murphy, "The Left Front: Radical Art in the Red Decade 1929–40" for the Mary and Leigh Block Museum of Art, an exhibition that traveled to the Grey Art Gallery at New York University. Jill has contributed to a number of publications, including, most recently: Conflict, Identity and Protest in American Art (2015), Divided Dreamworlds: The Cultural Cold War in East and West (2012) and Windows on the War: Soviet TASS Posters at Home and Abroad (2011). She is currently developing a book manuscript on artistic activism and public culture in the 1930s based on The Left Front, and a second manuscript derived from her dissertation project, tentatively titled: A Fragile Friendship: Soviet Art in the American Imagination, 1933–47.
Supervisors: Christina Kiaer
Address: Chicago, Illinois, United States
A historian of American art, Jill is primarily interested in the intersections between American Modernism and the transnational cultural politics of the United States in the 1930s–1960s, coincident with the Great Depression, World War II and the Cold War. Beyond the global dialogues of Modernism, Jill's research interests include: history of design and technology; the history of posters and printmaking practices; performance theory and the political public sphere, and cultural activism to the present day. She has taught courses on diverse topics, including the History of American Art, History of Graphic Design, History of Modernism and a methodology seminar on Materiality, for Northwestern University, the University of Chicago and Loyola University. Specific topics of ongoing research include: the 1939 World's Fair in New York, American artist Rockwell Kent, the posters of the Think American Institute (TAI), WWII Soviet TASS agency posters and their American reception, the relationship between printmaking and evolving ideas of American democracy, and ephemeral public activist art of the 1930s-40s.
The 2017 exhibition "GO" at the Art Institute of Chicago, the second in the museum's Modern Series, was co-curated by Jill and Kate Nesin. In 2014-15 she co-curated, with John Murphy, "The Left Front: Radical Art in the Red Decade 1929–40" for the Mary and Leigh Block Museum of Art, an exhibition that traveled to the Grey Art Gallery at New York University. Jill has contributed to a number of publications, including, most recently: Conflict, Identity and Protest in American Art (2015), Divided Dreamworlds: The Cultural Cold War in East and West (2012) and Windows on the War: Soviet TASS Posters at Home and Abroad (2011). She is currently developing a book manuscript on artistic activism and public culture in the 1930s based on The Left Front, and a second manuscript derived from her dissertation project, tentatively titled: A Fragile Friendship: Soviet Art in the American Imagination, 1933–47.
Supervisors: Christina Kiaer
Address: Chicago, Illinois, United States
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