Professor Emeritus of Art, Art History and Visual Studies
Ph.D., Yale University 1990
M.A., Queen's University (Canada) 1984
B.A., McGill University (Canada) 1981
Mark Antliff received his Ph.D. from Yale University and is author of Inventing Bergson: Cultural Politics and the Parisian Avant-Garde (Princeton University Press, 1993) and Avant-Garde Fascism: The Mobilization of Myth, Art and Culture in France, 1909-1939 (Duke University Press, 2007 and Les presses du réel, Paris, 2019) as well as co-author of Fascist Visions: Art and Ideology in France and Italy (with Matthew Affron, Princeton University Press,1997), Cubism and Culture (with Patricia Leighten, Thames & Hudson, 2001), and A Cubism Reader: Documents and Criticism 1906-1914 (with Patricia Leighten, University of Chicago Press, 2008 and Les presses du réel, Paris, 2019). He was co-curator with Vivien Greene of the major exhibition The Vorticists: Rebel Artists in London and New York, 1914-1918, which opened at the Nasher Museum of Art and traveled to the Peggy Guggenheim Collection in Venice and Tate Britain in London (ex. cat. London: Tate Publishing, 2010-11). The conference associated with this exhibition resulted in Vorticism: New Perspectives (Oxford University Press, 2013). His research and teaching interests focus on art in Europe before 1960, with special attention to cultural politics in all its permutations, as well as the interrelation of art and philosophy. His most recent scholarship, presented in numerous articles and talks, culminates in his forthcoming book, Sculptors Against the State: Anarchism and the Cosmopolitan Avant-Garde (London-Milan-Paris).
Expertise19th-20th Century European Art, Theory & Criticism
Antliff, Mark. “Creative Time: Bergson and European Modernism.” Tempus Fugit, edited by Jan Schall, Nelson-Atkins Museum of Art, Kansas City, 2000, pp. 35–65.
Antliff, Mark. “The Rhythms of Duration: Bergson and the Art of Matisse.” The New Bergson, edited by John Mullarkey, Manchester: Manchester University Press, 1999, pp. 184–208.
Antliff, Mark. “"Bergson," and "Politics and Aesthetics: Aestheticized Politics".” The Encyclopedia of Aesthetics, edited by Michael Kelly, Oxford University Press, 1998.
Antliff, M., and Matthew Affron. “Art and Fascist Ideology in France and Italy: An Introduction.” Fascist Visions: Art and Ideology in France and Italy, edited by Mark Atliff and Matthew Affron, Princeton University Press, 1997.
Antliff, Mark. “The Fourth Dimension and Futurism: A Politicized Space.” The Art Bulletin, vol. 82, no. 4, JSTOR, Dec. 2000, pp. 720–720. Crossref, doi:10.2307/3051419. Full Text
Antliff, M. “Cubism, futurism, anarchism: The 'aestheticism' of the action d'art group, 1906-1920.” Oxford Art Journal, vol. 21, no. 2, Jan. 1998. Scopus, doi:10.1093/oxartj/21.2.99. Full Text
Antliff, M. “The Jew as anti-artist: Georges Sorel, anti-semitism, and the aesthetics of class consciousness.” Oxford Art Journal, vol. 20, no. 1, Jan. 1997, pp. 50–67. Scopus, doi:10.1093/oxartj/20.1.50. Full Text
Antliff, M. “La Cite francaise: George Valois, Le Corbusier, and Fascist Theories of Urbanism.” Fascist Visions: Art and Ideology in France and Italy, edited by Mark Antliff and Matthew Affron, Princeton University Press, 1997.
Mark Antliff, M. “Organicism Against Itself: Cubism, Duchamp-Villon and the Contradictions of Modernism.” Word & Image, 1996, pp. 366–88.
Antlfif, M. “Bergson and Cubism: A reassessment.” Art Journal, Dec. 1988, pp. 341–49.
Fellowships, Supported Research, & Other Grants
Senior Fellow awarded by Paul Mellon Centre for Studies in British Art (2013)
Mary Sutton Weeks Fellow awarded by Stanford Humanities Center, Stanford University (2012 to 2013)
Gould Fellow awarded by National Humanities Center (2003 to 2004)
Member awarded by Institute for Advanced Study (1999 to 2000)
Fellow awarded by John Simon Guggenheim Foundation (1995 to 1996)
Post-Doctoral Fellow awarded by Social Sciences and Humanities Research Council of Canada (1990 to 1992)
Visiting Fellow awarded by Yale University (1990 to 1992)
Mary Davis Fellow awarded by Center for Advanced Study in the Visual Arts, National Gallery of Art (1988 to 1990)