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Naomi Hume, PhD

Associate Professor, Art History



PhD, University of Chicago, 2004
MA, University of Chicago, 1997
BA, Princeton University, 1994

Field of Interest:

Modern Art History
Gender and Representation


Naomi Hume teaches courses on modern and avant-garde art in Europe and specializes in the history of modern art in Central and Eastern Europe, particularly that of the late-nineteenth and early-twentieth centuries. Her research and teaching interests include the representation of gender, nationality and politics in visual art and popular media and in particular, how artists adapt visual vocabularies to respond to new political, social and cultural contexts. Her current research focuses on the performance of gender in 19th-century art and contemporary media.

Recent courses

ARTH 4610 Robots, Machines and the Body: Utopia and Dystopia in Avant-Garde Art
ARTH 3430 Dandies and Dangerous Women: Decadent Art around 1900
ARTH 3420 History of Photography
ARTH 3410 History of Modernism
ARTH 2120 The Status of the Artist: Renaissance Intellectual & Modern Social Critic

Hume has received several awards to support her research, including Seattle University’s College of Arts and Sciences Dean’s Research Fellowship, College of Arst and Sciences Faculty Research Fellowship and Summer Faculty Fellowship as well as the University of Chicago’s Franke Institute fellowship and a fellowship from the Max-Planck-Institute for the History of Science in Berlin. 

Hume has presented her work at international conferences in Europe and the US. She has presented at the College Art Association conference, the Popular Culture Association conference and the Conference of the European Association for Modernism Studies. Sample recent presentations include: "Mapping Migration: Emil Filla, Otakar Nejedly and the Expressive Geographical Map" Avant-garde Migrations International Symposium, Calouste Gulbenkian Foundation, Lisbon. “Anarchism and Lebensreform in František Kupka’s Abstraction,” European Association of Avant-Garde and Modernism Studies conference, Helsinki. “Expanding the Ideenreihe: Bridging Expressionism and Cubism through El Greco,” Los Angeles: Locating Expressionism symposium, Los Angeles County Museum of Art. “Cut-and-Paste in Exile: Otto Gutfreund’s Parisian Collages,” Prague: Nationalism and Cosmopolitanism in Avant-Garde and Modernism: The Impact of WWI symposium, Institute of Art History of the Czech Academy of Sciences. “Decadent Art as Politics in Fin-de-Siècle Central Europe,“ invited lecture, University of Washington German Department’s Connections and Contexts lecture series in conjunction with the Frye Museum’s exhibition Franz von Stuck.“František Kupka’s Anarchist Colors,“ 100 Years of Abstract Art: Theory and Practice conference, Jacobs University, Bremen, Germany.“‘Beyond Time’: Central European Expressionists Interpret El Greco” invited lecture, German Expressionism Symposium, University of Oregon.

Centropa-2010    Slavic Review Fall 2012    Wunsche Rractices of Abstract Art

Select journal articles and book chapters:

  • 2018 – “Cut-and-Paste in Exile: Otto Gutfreund’s Parisian Collages,” in Nationalism and Cosmopolitanism in Avant-Garde and Modernism: The Impact of WWI, eds. Lidia Głuchowska and Vojtěch Lahoda, (Prague: Artefactum, forthcoming 2018).
  • 2016 – “František Kupka’s Anarchist Abstraction,” Practices of Abstract Art: Between Anarchism and Appropriation, eds. Isabel Wünsche and Wiebke Gronemeyer, (Newcastle, UK: Cambridge Scholars Publishing, 2016), 31-52.
  • 2012 – “Avant-Garde Anachronisms: Prague’s Group of Fine Artists and Viennese Art Theory,” Slavic Review, vol. 71, no. 3, (Fall, 2012): 516-545. Download here (PDF).
  • 2010 – “Context and Controversy around Prague's Art Monthly: Umělecký Měsíčník, 1911-1914,” Centropa: Journal of Central European Architecture and Related Arts,10, no. 3 (September 2010): 204-220.
  • 2007 – “Little-Known Star Artists,” review of The Société Anonyme: Modernism for America, exhibition at Hammer Museum, Los Angeles, April 23–August 20, 2006. X-TRA Contemporary Art Quarterly, 9, (2007): 20-23.