Christina Weyl, PhD

Updated September 2023

Education:

Rutgers University, New Brunswick, NJ (2009-2015)
PhD, Art History (May 2015)
Dissertation title: “Abstract Impressions: Women Printmakers and the New York Atelier 17, 1940-1955” (Dr. Joan Marter, advisor)

MA, Art History with Certificate in Curatorial Studies (May 2012)
Field: 19th and 20th century American and European art; American printmaking and women artists
Master’s Essay: “Lynd Ward’s Novels in Woodcut: The Cinematic Subtext” (Dr. Joan Marter and Dr. Andrés Zérvigon, readers)

Georgetown University, Washington, DC (2001-2005)
BA (magna cum laude): Major: American Studies; Minors: Art History and French
Senior Thesis: “The Professionalization of an American Woman Printmaker: The Early Career of Grace Albee, 1915-1933” (Dr. Elizabeth Prelinger, advisor)

Printmaking Studio Experience (2010-Present)
Lower East Side Printshop, New York, NY (Summer 2010): intaglio
Robert Blackburn Printmaking Workshop, New York, NY (Winter 2012): stone lithography
Overpass Projects, Providence, RI (May 2016): intaglio
Manhattan Graphic Workshop, New York, NY (January 2017): engraving

Professional Work Experience

Curatorial Activity

A Model Workshop: Margaret Lowengrund and The Contemporaries (September 21-December 23, 2023)
Guest Co-Curator (with Lauren Rosenblum), exhibition presented at Print Center of New York

Proto-Feminism in the Print Studio (September 13-December 4, 2022)
Guest Curator, exhibition presented at Spruance Gallery, Arcadia University

Two Generations of Women Printmakers: Atelier 17 & The Art Students League (November 5-December 6, 2021)
Guest Curator, exhibition presented at the Art Students League of New York

Life in Color: American Printmaking from Hopper to Warhol (2017-2020)
Guest Curator, exhibition sponsored by the American Federation of Arts
[cancelled due to COVID]

Innovation and Abstraction: Women Artists and Atelier 17, 1940-1955 (August 4–October 30, 2016)
Guest Curator, Pollock-Krasner House and Study Center, East Hampton, NY
Second venue: Zimmerli Art Museum, Rutgers University (January 17-May 31, 2017)

Circa 1966 (September 3, 2016-January 29, 2017)
Guest Curator, Zimmerli Art Museum, Rutgers University, New Brunswick, NJ

More than Fifteen Minutes of Fame: Warhol’s Prints and Photographs (January 16–July 31, 2016)
Contributing Curator, Zimmerli Art Museum, Rutgers University, New Brunswick, NJ

Atelier 17: Women Artists and Avant-Garde Prints (August 26-November 17, 2013)
Jane and Morgan Whitney Fellow, Johnson Gallery rotation, Metropolitan Museum of Art, New York, NY

Jolán Gross-Bettelheim: An American Printmaker in an Age of Progress (March 18–July 31, 2011)
Research assistant for Marilyn Symmes, Zimmerli Art Museum, Rutgers University, New Brunswick, NJ

The Professionalization of an American Woman Printmaker: The Early Career of Grace Albee (March 22–June 19, 2005)
Curator, Charles Marvin Fairchild Memorial Gallery, Georgetown University Special Collections

Non-Profit Work

Association of Print Scholars
Co-Founder and Co-President (May 2014 to December 2018)
* Founded nonprofit professional organization that brings together the diverse print community and encourages innovative print scholarship. Membership now totals over 450 since public launch in October 2014 and includes curators, academics, graduate students, paper conservators, independent scholars, dealers, and artists
* Fundraised for APS through competitive grants
* Established an annual article prize for early-career scholars, funded by two leading print dealers
* Organized lectures, symposia, printmaking workshops, and other member programs
* Developed features for www.printscholars.org, which include: personalized membership profiles; member-driven news, scholarship and opportunities posts; a print room directory; and list of online resources

Grants Coordinator (January 2019-January 2023)
* Managed three annual grant competitions and liaised with panel of jurors to establish winners

Museums and Galleries

Zimmerli Art Museum, Rutgers University, New Brunswick, NJ (September 2015-April 2016)
Curatorial Assistant in Morse Research Center
* Researched and wrote didactic material for two exhibitions, the first about Warhol’s prints and photographs and the second a collections rotation entitled Circa 1966; managed PR efforts and marketing materials
* Rehoused and reorganized major gift of American prints and drawings

Morgan Library and Museum, New York, NY (November 2014-March 2015)
Curatorial Assistant, Department of Modern and Contemporary Drawings
* Assisted with exhibition preparations for Embracing Modernism: Ten Years of Drawings Acquisitions (February 13-May 24, 2015), including label texts, installation planning, promotional information, and public programs

Metropolitan Museum of Art, New York, NY (Spring 2011, 2012-2013)
Graduate Intern; Predoctoral Fellow, Department of Drawings and Prints
* Catalogued approximately 200 twentieth-century American prints, including those by John Sloan (collection donated by Ernest Shapiro), Arthur B. Davies, and women artists of Atelier 17
* Completed dissertation research by studying mid-20th century prints in the collection

New-York Historical Society, New York, NY (Summer-Fall 2010)
Research assistant, Print Room
* Located paintings and sculptures shown at the 1913 Armory Show for centenary exhibition, The Armory Show at 100: Modern Art and Revolution

Zimmerli Art Museum, Rutgers University, New Brunswick, NJ (2009-2010)
Graduate Research Assistant in Morse Research Center
* Researched and catalogued prints by Jolán Gross-Bettelheim for 2011 exhibition, Jolán Gross-Bettelheim: An American Printmaker in an Age of Progress

Gemini G.E.L. at Joni Moisant Weyl, New York, NY and Los Angeles, CA (2005-2009)]
Director, New York, NY (December 2007-August 2009)
Assistant Director, New York, NY (February 2007-December 2007)
Assistant to Owner, Los Angeles, CA (August 2005-February 2007)
* Sold the publications of the Los Angeles-based workshop, Gemini G.E.L., a leading publisher of prints and multiples created by contemporary American artists
* Curated six gallery exhibitions of recent and past Gemini prints and assisted with planning several other shows
* Promoted these shows in the New York area through PR efforts and outreach to collectors
* Supervised a full-time employee and a part-time intern while serving as Director

Teaching Experience

The Cooper Union, New York, NY (2016-2018)
Adjunct Assistant Professor
* Taught upper-level undergraduate seminar entitled “20th Century American Printmaking”

Rutgers University, New Brunswick, NJ (2011-2012 academic year; 2013-2014 academic year)
Teaching Assistant, Department of Art History
* 2011-2012: Led weekly discussion group for undergraduates in introductory survey to art history, prepared lesson plans, and graded two written assignments and two exams
* 2013-2014: Assisted professors in upper level undergraduate course

Freelance Work

Modern Sculpture: Artists in Their Own Words (Summer 2017-Summer 2021)
Project Assistant
* Researched primary source texts by 20th century sculptors for Douglas Dreishpoon’s anthology (Berkley: University of California Press, 2022), part of the Documents of Twentieth Century series

Louise Nevelson: Light and Shadow (Summer and winter 2016)
Image Researcher
* Procured images and permissions for Laurie Wilson, (New York: Thames & Hudson, 2016)

Fellowships and Awards

2021 Getty Paper Project, Print Center New York
Project title: A Model Workshop: Margaret Lowengrund and The Contemporaries

2018-2019 Getty/ACLS Postdoctoral Fellowship in the History of Art
Project title: Living in Color: The Explosion of Color in American Printmaking, 1935-65"

2017 Publication Grant, Wyeth Foundation for American Art
Book title: The Women of Atelier 17: Modernist Printmaking in Midcentury New York

2017 Society for the Preservation of American Modernists
Publication Grant: “The Women of Atelier 17: The Biographical Supplement”

2014-2015 Graduate Center, City University of New York, New York, NY
Provost’s Digital Innovation Grant, for “Networking Modern Prints in New York and Paris, 1880-1950”

2014 Archives of American Art, Smithsonian Institution, Washington, DC
Graduate Research Essay Prize

2013-2014 Rutgers University, New Brunswick, NJ
Teaching Assistant Fellowship

2013-2014 Smithsonian American Art Museum, Washington, DC
Joshua C. Taylor Predoctoral Fellowship (declined)

2014 Rutgers University, New Brunswick, NJ (
Mitnick-Jacobs Fund, for summer dissertation research

2012-2013 Metropolitan Museum of Art, New York, NY
Jane and Morgan Whitney Fellowship, Department of Drawings and Prints

2012 Rutgers University, New Brunswick, NJ
Mary Bartlet Cowdrey Fund for summer dissertation research

2012 Rutgers University, New Brunswick, NJ
Mitnick-Jacobs Fund for summer dissertation research

2009-2011 Excellence Fellowship, Rutgers University, New Brunswick, NJ

2010 Rutgers University, New Brunswick, NJ
Mellon Foundation grant for summer enrichment

2005 Mary Catherine Mita Award, Georgetown University, Washington, DC
Presented to the student in the American Studies Program whose senior thesis has been selected by a committee of faculty as most worthy of recognition and publication.

Publications

Books

The Women of Atelier 17: Modernist Printmaking in Midcentury New York, New Haven: Yale University Press, 2019.
The book was awarded a publication grant from the Wyeth Foundation for American Art

The Women of Atelier 17: The Biographical Supplement, online publication (June 2019): atelier17.christinaweyl.com
This publication features biographies for the nearly one hundred women artists who were members of Atelier 17 during its time in New York City, 1940-1955. It was supported through a publication grant from the Society for the Preservation of American Modernists

Exhibition Catalogues

A Model Workshop: Margaret Lowengrund and The Contemporaries. Munich: Hirmer, 2023.

Two Generations of Women Printmakers: Atelier 17 & The Art Students League. New York: The Art Students League of New York, 2021.

Published Articles

“Sue Fuller: ‘A New Poetry of Infinity,’” in Sue Fuller: Into the Composition. London: Ridinghouse and Luxembourg + Co., 2022.

“Convergence Point: Atelier 17,” in Surrealism Beyond Borders, ed. Stephanie D’Alessandro and Matthew Gale. New York: Metropolitan Museum of Art, 2021: 88-91.

“Norma Morgan: A Lonely Wanderer,” in Norma Morgan: Enchanted World. Easton, MD: Academy Art Museum, 2021: 11-16.

“The Women of Atelier 17 and the Sculptural Potentials of Printmaking,” in Stanley William Hayter & the World in an Atelier: Converging Stories of Surrealism and Abstraction, 1927-1964. Le Kremlin-Bicêtre: Mare & Martin, 2021, pp. 62-67.
[also translated into French]

“The Print Connection,” in Alice Trumbull Mason: Pioneer of American Abstraction, ed. Elisa Wouk Almino. New York: Rizzoli Electa, 2020: 180-187.

“Missing Archives: Worden Day and Women Modernists,” Archives of American Art Journal 58, no. 2 (Fall 2019): 24-45.

“Stanley William Hayter and Mary Huntoon: An Artistic Friendship in Interwar Paris,” Print Quarterly XXXVI, no. 2 (2019): 169-171.

“The Printed Collage,” In Focus: String Composition 128 1964 by Sue Fuller, Alex Taylor (ed.), Tate Research Publication, 2018. Online publication.

“Shifting Focus: Women Printmakers of Atelier 17,” Woman’s Art Journal 39, no. 1 (Spring/Summer 2018): 12-22.
Revised, expanded, and translated into Portuguese for Atelier 17: e a gravura moderna nas Américas. São Paulo: Terra Foundation and Universidade de São Paulo, Museu de Arte Contemporânea, 2019.

“Prix de Print: ‘Our Good Earth?’ by Nathan Meltz” Art in Print 7, no. 4 (January-February 2018): 50-51.

Innovation and Abstraction: Women Artists and Atelier 17, e-catalogue essay for exhibition at Pollock-Krasner House & Study Center (summer 2016).

“Ellen Lanyon: The Objects of Her Obsession,” Art in Print 6, no. 2 (July/August 2016): 10-15.

John Baldessari’s Concrete Couples and José Pedro Croft’s untitled, new edition reviews in Art in Print 5, no. 6 (March-April 2016): 5-6, 12-13.

“Innovative Etchings: Louise Nevelson at Atelier 17,” in American Women Artists, 1935-1970—Gender, Culture, and Politics, eds. Helen Langa and Paula Wisotzki. Burlington, VT: Ashgate, 2016: 127-143.

“Emily Mason: A Painterly Printmaker,” essay in Emily Mason: The Light in Spring. Hanover, NH and London: University Press of New England, 2015: 92-99.

“Networks of Abstraction: Postwar Printmaking and Women Artists of Atelier 17,” Graduate Research Essay Prize published on the website of the Archives of American Art, Smithsonian Institution (2015).

“Lynd Ward’s Novels in Woodcuts: The Cinematic Subtext,” Athanor 30 (July 2012): 83-91.

Albrecht Dürer, “The Man of Sorrows with Arms Outstretched” and “The Man of Sorrows Mocked by a Soldier,” catalogue entry in Passion in Venice: Crivelli to Tintoretto and Veronese, eds. William Barcham and Catherine Puglisi, 98-101. New York: GILES in association with the Museum of Biblical Art, 2011.

“The Early Career of Grace Albee,” Print Quarterly 24, no. 2 (June 2007): 126-141.

Book Reviews

Review of Highpoint Editions: A History & Catalogue, 2001-2021, ed. Dennis Michael Jon, Minneapolis: Minneapolis Institute of Art, 2021. Panorama: Journal of the Association of Historians of American Art 9, no. 1 (Spring 2023).

Review of Kathe Köllwitz: Prints, Process, Politics, ed. Louis Marchesano, Los Angeles: Getty Publications, 2020. Woman’s Art Journal (Fall/Winter 2020): 53-55.

Publications written for the Association of Print Scholars

“Introducing the APS Lecture,” Art in Print 6, no. 3 (September-October 2016): 4, with Britany Salsbury.

Rémi Mathis, interview with Britany Salsbury and Christina Weyl, “Fondation de l’Association de Print Scholars,” Nouvelles de l’Estampe 251 (summer 2015): 90-91.

“The Association of Print Scholars: Bridging Printmaking Practice and Scholarship,” Graphic Impressions (fall 2015): 4-5, with Britany Salsbury.

Conferences

Sessions Chaired

“Expanding Modernism: Printmaking in America, 1940-1960,” College Art Association Annual Conference (February 2017)

Papers Presented

“Sisterhood at the League: Women Artists at Midcentury,” Art Students League, New York (December 2019)

“Shifting Focus: The Women of Atelier 17,” Lichtenstein Lecture Series, Pollock Krasner House & Study Center, East Hampton, New York (August 2019)

“Color ‘Prints’ During the Color Revolution,” Getty/ACLS Postdoctoral Fellowship in the History of Art, Summer Residency (July 2019)

“Sue Fuller: Fiber and Femininity,” Fourth Association of Historians of American Art Symposium (October 2016)

“Atelier 17 and the Gender of Technique,” invited lecture for symposium titled Atelier 17—A Gathering Place for Avant-Garde Artists, Syracuse University Art Galleries (September 2016)

“Sculpting Gender from Printmaking: Women Artists at Atelier 17, 1940-1955,” paper presented in Techniques of Reversal panel (co-chaired by Jennifer Roberts and David Pullins), College Art Association Annual Conference (February 2015)

“Size Matters: The Epic Print and Abstract Expressionism,” paper given at “Beyond Connoisseurship: Rethinking Prints from the Belle Épreuve (1875) to the Present,” Graduate Center of the City University of New York (November 2014)

“Abstract Impressions: Women Printmakers and the New York Atelier 17, 1940-55,” Graduate Student Lighting Round, Third Association of Historians of American Art Symposium (October 2014)

“Material Matters: Decoding Meaning from the Tools and Techniques of Atelier 17 Prints,” Fellows Colloquia, Metropolitan Museum of Art, New York, New York (April 2013)

“Circulating Abstraction: The Portability and Commercial Success of Women Artists’ Abstract Expressionist Prints,” Graduate Student Symposium held in conjunction with the exhibition The Female Gaze: Women Artists Making their World at the Pennsylvania Academy of Fine Arts (February 2013)

“Women Artists and the Materiality of the Abstract Expressionist Print,” Third Annual Feminist Art History Conference, American University, Washington, DC (November 2012)

“Innovative Etchings: Louise Nevelson at Atelier 17,” Graduate Student Symposium, Philadelphia Museum of Art, Philadelphia, PA (March 2012)

“Experimentation and Variation in Louise Nevelson's Early Atelier 17 Etchings,” Southeastern College Art Conference, Savannah, GA (November 2011)

“Lynd Ward’s Novels in Woodcuts: The Cinematic Subtext,” 29^th^ Annual Graduate Student Symposium, Florida State University, Tallahassee, FL (November 2011)

“Nature and the Art of Marguerite Zorach: Reflections of an Early Modernist’s Life,” Rutgers Graduate Student Symposium, New Brunswick, NJ (March 2011)

Spotlight Tour about Albrecht Dürer prints on view in Passion in Venice: Crivelli to Tintoretto and Veronese, Museum of Biblical Art, New York, NY (March 26 and May 21, 2011)

Posters

“Blocks of Detritus: Anne Ryan’s Woodblocks,” poster in Blocks Plates Stones: Print Matrices/Printing Surfaces in Collections & Research, convened by Elizabeth Savage and held at the Courtauld Institute, London

Conferences/Lectures Organized

“A Means to an End: The Process of Understanding French Prints,” lecture by Rémi Mathis for the Association of Print Scholars, CUNY Graduate Center, February 26, 2018

“Diving into Dürer: Collecting Old Masters Today,” panel discussion co-organized by the Association of Print Scholars and the International Fine Print Dealers Association, October 27, 2017

“There’s More to the Story: Integrating Paul Gauguin’s Artistic Practice into an Exhibition Narrative,” lecture by Harriet Stratis for the Association of Print Scholars, CUNY Graduate Center, May 12, 2017

“Publishing the Contemporary: The State of Printmaking Today,” panel discussion co-organized by the Association of Print Scholars and the International Fine Print Dealers Association, November 5, 2016

Printmaking Workshop for Early-Career Scholars organized by the Association of Print Scholars, Providence, RI, May 19-21, 2016 (supported by $5,000 grant from the Emily Mason and Wolf Kahn Foundation)

Inaugural Symposium of the Association of Print Scholars, Hunter College, November 7, 2015 (supported by $1,500 grant from the IFPDA Foundation)

“Why Study Prints Now,” lecture by Peter Parshall for the Association of Print Scholars, CUNY Graduate Center, September 25, 2015 (supported by $1,350 grant from the IFPDA Foundation)

“(with occasional political overtones): Lucy R. Lippard and the Emergence of the Conceptual Art Movement,” lecture by Catherine Morris, Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, Rutgers University, Department of Art History’s Distinguished Speaker Series, April 12, 2012

“The Art of Travel,” Graduate Student Symposium, Rutgers University, March 23, 2012

Professional Memberships

Print Council of America, Association of Print Scholars, College Art Association, Association of Historians of American Art