Wendy KatzAssociate Professor of Art History (American Art)
MA 1989 University of Michigan, Ann Arbor
BA 1988 Occidental College, Los Angeles
Wendy J. Katz is an associate professor of art history at the University of Nebraska–Lincoln, where she is also a Fellow of the Center for Great Plains Studies and the International Quilt Study Center, and a faculty member of Nineteenth-Century Studies and the Harris Center for Judaic Studies. She studies how the language of taste, as wielded by patrons, critics and artists to describe American art expresses moral and social values. Her research has focused on 17th-century Anglo-American portraits, 19th-century landscape, genre painting, and sculpture, and African-American art. She is currently completing a book onThe Politics of Art Criticism in the New York Penny Press.
The Trans-Mississippi and International Exposition of 1898: Art, Anthropology and Popular Culture, editor, University of Nebraska Press, 2018.
Lost Writers of the Plains, editor, NET Foundation, iBook, 2015. https://itunes.apple.com/us/book/lost-writers-of-the-plains/id964353170?mt=11
Regionalism and the Humanities, ed. with Timothy Mahoney, University of Nebraska Press, 2009.
Regionalism and Reform: Art & Class Formation in Antebellum Cincinnati. Columbus, Ohio: Ohio State University Press, 2002; paperback 2015.
“Introduction,” Thomas Kinkade (Boston: Little, Brown and Co., 2000) 9-34.
“Dueling Codes of Honor: Hawthorne, Powers and Republican Politics,” Proceedings of HawthornEurope: Transatlantic Conversations, ed. Valerio Massimo de Angelis. (University of Macerata Press, forthcoming 2018).
“Women and Art in the Passing Show,” in The Trans-Mississippi and International Exposition of 1898: Art, Anthropology and Popular Culture, ed. Wendy Jean Katz (University of Nebraska Press, 2018) 105-160.
“Walt Whitman and “American” Art,” in Essays on the Study of English Language and Literature, ed. Huang Zongying (Changchun City, China: Jilin Publishing Group, 2011) 31-48.
“To bring forth good fruit: still-life painting and nationalism,” Poetical Fire, ed. Brandon Ruud. Sheldon Museum of Art, 2011; 10-19.
“Undocumented Art Criticism by Whitman in the New York Sunday Dispatch and New York Evening Post,” Walt Whitman Quarterly Review, 32:4 (Spring 2015) 215-229.
“Robert S. Duncanson, Race, and Auguste Comte’s Positivism in Cincinnati,” American Studies, 53:1 (2014) 5-30.
“Early American Portraits: Private to Public, Colonial to Republic,” Gilcrease Museum Journal, XVI: 2 (2008) 40-64.
“Fancy Painting, Street Children and the Fast Men of the Pavé,” Nineteenth-Century Studies, 21 (2007) 85-126.
“Portraits and the Production of the Civil Self in Seventeenth-Century Boston,” Winterthur Portfolio: A Journal of American Material Culture, 39: 2/3 (2005) 101-128.
"The Art of Pleasing: Lilly Martin Spencer and Refinement,"American Studies. 42:1 (Spring 2001) 5-37.
"Robert S. Duncanson: City and Hinterland," Prospects, vol. 25 (October 2000) 311-335.
"A Great Moral Discourse: Rembrandt Peale's The Court of Death,"Bulletin of the Detroit Institute of Arts, 70:1/2 (1996) 14-25.
Courses102: Introduction to Art History and Criticism: Renaissance to the present
251: American Art to 1865
252: American Art 1865-1945
391: American Society and Culture in the Civil War Era
451/851: Nineteenth-Century American Art
452/852: American Art 1893-1939
498/898: Special Topics (Winslow Homer/Thomas Eakins; Rethinking Regionalism: Art, Landscape
and Culture of the West; Great Plains Art Exhibition: Sex & Gender in the Art of the Plains)
901: Methodology and Historiography of Art History
919: Interdisciplinary Approaches to the Nineteenth Century
951: Seminar in American Art
Honors and AwardsSmithsonian Institution Senior Fellowship at the National Museum of American Art, 2014.
Jay T. Last Fellowship, American Antiquarian Society, Worcester, Massachusetts, 2008.
Andrew Oliver Short-Term Research Fellowship, Massachusetts Historical Society, Boston, 2004.