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French, Scandinavian, and German art of the 19th and early 20th centuries; history of museums and collecting; the art of psychiatric patients; printmaking; intersections between art and science; critical theory; historiography
Allison Morehead specializes in nineteenth- and early twentieth-century European art, with particular interests in French, German, and Scandinavian artists of the late nineteenth century, the early exhibition history and reception of the art of psychiatric patients and mediums, and the rhetoric of modern print revivals. Her most recent work considers symbolist practice in light of French scientific and philosophical currents. She has collaborated on a number of exhibitions internationally and was co-editor of the catalogue accompanying Cléopâtre dans le miroir de l’art occidental, held at the Musée d’art et d’histoire de Genève in 2004. She has been the recipient of numerous grants and fellowships, including those from the Whiting, Kress, and Rhoades Foundations, the Social Science Research Council (International Dissertation Field Research Fellowship), and a Junior Research Fellowship from King’s College, Cambridge. With the support of a Standard Research Grant from the Social Sciences and Humanities Research Council of Canada, she is currently completing a book manuscript entitled Nature’s Experiments and the Search for Symbolist Form.
|A Certain tour d’esprit: Édouard Vuillard’s Salon Lerolle in Looking and Listening in Nineteenth-Century France (exh. cat. The David and Alfred Smart Museum, University of Chicago), 2007|| ‘Are there bacteria in the rooms of Monte Carlo?’: The Roulette Paintings, 1891–93 in Munch blir “Munch” / Munch becoming “Munch” (exh. cat. Munch Museum, Oslo), 2008
|Symbolism, Mediumship, and the 'Study of the Soul that has Constituted Itself as a Positivist Science'in RACAR - Revue d'art canadienne / Canadian Art Review, 2009||The Musée de la folie: Collecting and exhibiting chez les fous in Journal of the History of Collections, 2011|