380 Rector Place, Apartment 7M
New York, NY 10280

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2001 : University of Texas, at Austin
Ph.D. in History of Art
Dissertation: Individualism and Intersubjectivity in Modernism. Two Case Studies of Artistic Interchanges:
Camille Pissarro and Paul Cézanne / Jasper Johns and Robert Rauschenberg

1982 : Courtauld Institute, London
M. Phil. in History of Art

1979 : Sorbonne, Paris IV
Licence de philosophie

1980 : Ecole Normale Supérieure, Paris
Written Entrance Examination
(Major: Philosophy)


English, French,German,Italian,Russian

(reading knowledge: Hebrew, Latin, and Ancient Greek)


2007 – Present : Hunter College, of CUNY
Bershad Professor of Art History,
Director of the Hunter College Art Galleries

2003 – Present : The Museum of Modern Art, New York
Curator, (and Adjunct Curator since 2007) Painting & Sculpture Department

2002-2006 : Dedalus Foundation, New York
Director of the Robert Motherwell Catalogue Raisonné Project

1992 – Present : Apollo Magazine
Advisory Board

1983 – Present : Wildenstein Institute, Paris
Academic and Editorial Advisor to the Wildenstein Publications

2002-2004 : Hunter College, City University of New York
Visiting Professor

2002-2003 : The Museum of Modern Art, New York
Member of the Advisory Committee on Archives, Library, and Research

1997-2002 : Yale University, Department of the History of Art, Connecticut
Adjunct Professor

2000 : The Museum of Modern Art, New York
Mellon Consulting Scholar in the Archives Department

1997-2000 : Yale University Art Gallery, Connecticut
Seymour H. Knox, Jr., Curator of European and Contemporary Art

Fall 1999 : University, Melbourne University, Sydney, Australia
Visiting Lecturer

Fall 1999 : Queensland Art Gallery, Brisbane, Australia
Visiting Lecturer

1994-1997 : Kimbell Art Museum, Fort Worth, Texas
Chief Curator

1994-1997 : University of Texas, Austin, Texas
Visiting Lecturer

1993-1994 : Musée de la Fondation de l’Hermitage, Lausanne, Switzerland

1993-1994 : Comité International d’Histoire de l’Art, Université de Lausanne, Switzerland
Organizing Member

1988-1993 : Dallas Museum of Art, the Philadelphia Museum of Art, and The Royal Academy, London
Independent Curator

1984-1988 : Phillips, London and New York
Director of Impressionist and Modern Paintings and Sculpture Department

1984 : Yeshiva University, Art History Department, New York
Visiting Professor

1981 : Art Institute of Chicago, Illinois
Freelance Researcher


College Art Association
The North American Fichte Society
North American Kant Society
Society for the Advancement of Education
American Association of Museum Curator
Advisory Board, Apollo Magazine


2016 : Gagosian Gallery, London
Alberto Giacometti, Yves Klein: In Search of the Absolute

2015 : LAX – MIA: Light + Space, Surf Club Miami, Miami

2013 : Musée des Impressionismes, Giverny
Ellsworth Kelly and Claude Monet

2012 : Almine Rech Gallery, Brussels 2012
Jeff Koons

2012 : Schirn Kunsthalle and the Liebieghaus Skulpturensammlung, Frankfurt
Jeff Koons: The Painter, Jeff Koons: The Sculptor


2012 : Hunter College Art Galleries, New York 2012
Conceptual Abstraction

2012 : Hunter College Art Galleries, New York 2012
Times Square Show Revisited

2012 : Hunter College Art Galleries, New York 2012
Notations: The Cage Effect Today


2012 : Chief Executives Organization, New York 2012
Paris Private Art Collections Seminar

2011 : San Francisco Museum of Modern Art, San Francisco
Director’s Circle Private Collections Seminar

2008-2009 : The Museum of Modern Art, New York and Van Gogh Museum, Amsterdam
Vincent van Gogh: The Colors of the Night
Co-curated with Sjraar van Heugten, Van Gogh Museum

2008 : Hunter College Art Galleries, New York
To: Night – Representations of the Night in Contemporary Art

2007-2008 : The Museum of Modern Art, New York
Out of Time: A Contemporary View
Co-curated with Eva Respini


2005-2006 : The Museum of Modern Art, New York, Los Angeles County Museum of Art and Musée d’Orsay, Paris
Pioneering Modern Painting: Cézanne and Pissarro


Spring 2000 : Yale University Art Gallery, New Haven, Connecticut
Jasper Johns’ Recent Paintings

Summer 1999 : Yale University Art Gallery, New Haven, Connecticut
Postmodern Transgressions
Co-curated with Richard Field

Spring 1999 : Yale University Art Gallery, New Haven, Connecticut
After looking at Chinese Rocks: Brice Marden’s Work in Progress
Co-curated with Richard Field

January 1999 : Kimbell Art Museum, Fort Worth, Texas
Matisse and Picasso: a Gentle Rivalry
Guest-curated by Yve-Alain Bois

Spring 1998 : Yale University Art Gallery, New Haven, Connecticut
Saints, Sinners and Sceneries: the Dr. Herbert and Monika Schaefer Collection
A selection of Dutch and Flemish 16th- and 17th-century works of art

Spring 1998 : Yale University Art Gallery, New Haven, Connecticut
Then and Now and Later: Art Since 1945 at Yale (a history of Contemporary art at Yale since Duchamp’s Société Anonyme)
Co-curated with Thomas Crow

1997-1998 : Kimbell Art Museum, Fort Worth, Texas and Brooklyn Museum, New York
Monet and the Mediterranean

1996-1997 : Kimbell Art Museum, Fort Worth, Texas and
The National Gallery of Art, Washington, in collaboration with curator Philip Conisbee
Georges de La Tour
The first retrospective of the artist’s work in America

1996 : Kimbell Art Museum, Fort Worth, Texas
In collaboration with guest-curator Susan Siegfried

1995-1996 : The Royal Academy, London, the Sezon Museum of Art, Tokyo, Japan, and
The Matsuzakaya Art Museum, Nagoya, Japan
From Manet to Gauguin, Masterpieces from Swiss Private Collections

1995 : Israel Museum, Jerusalem, in association with the Jewish Museum, New York
Pissarro: Impressionist Innovator
First retrospective of the artist’s work in Israel

1994 : Musée des Beaux-Arts, Rouen, in collaboration with
The Réunion des Musées Nationaux
Rouen, Les Cathédrales de Monet

1992-1993 : The Dallas Museum of Art, the Philadelphia Museum of Art, and
The Royal Academy of Arts, London
The Impressionist and the City: Pissarro’s Series




Catalogue essay, Klein & Giacometti : In Search of the Absolute in the Era of Relativity, Gagosian Gallery, Lodon, April 2016


Catalogue Essay, Matisse and Picasso, Hammer Galleries, New York.

“Jack Climbed up the Beanstalk to the Sky of Illimitableness Where Everything Went Backwards”, Julian Schnabel, Almine Rech Gallery, Paris.

Catalogue Essays, Miro, Gmurzynska Gallery, Zurich.

Catalogue Essay, Jasper Johns, Rencontre au Sommet”, PicassoMania, Grand Palais, Paris.

Glenn Lowry with Joachim Pissarro, Gaby Collins-Fernandez, and David Carrier, The Brooklyn Rail, May 2015


Catalogue Essay, Jeff Koons’s Gazing Balls or the Eye of Janus Today and Jeff Koon’s Epic Poem. Almine Rech, Brussels.

Catalogue Essay, Robert Rauschenberg: Works on Metal. Gagosian, Beverly Hills.

Catalogue Essay, Martin Creed: What’s the Point of it? Hayward Gallery, London.


Wild Art (with David Carrier), Phaidon Press.


Catalogue Essay, Pissarro, Museo Thyssen-Bornemisza, Madrid.


“Jeff Koons at Almine Rech”, “Joachim Pissarro in conversation with Jeff Koons”, and
“Jeff Koons: Humankind Before All”, Jeff Koons, Almine Rech Gallery, Brussels.

Catalogue Raisonné of Robert Motherwell, Dedalus Foundation, New York.


“Cézanne et Pissarro: Esthétiques de la Résistance / Résistances à toute Esthétique”,
Cézanne et Paris, Musée du Luxembourg, Paris.

“The Love of Painting” (with Mara Hoberman), Robert Indiana: Rare Works from 1959 on Coenties Slip”, Galerie Gmurzynska, Zurich.

“A Sea of Meanings: Drawings by Robert Morris”, Robert Morris: Drawings 1961, Craig F. Starr Gallery, New York.


“Reality Show,” (with Mara Hoberman), Marc Quinn: Allanah, Buck, Catman, Chelsea, Michael, Pamela and Thomas, White Cube, London.

“Embodiments of Color,” in Suzan Frecon, David Zwirner, New York.

“Joseph Beuys: Set Between One and All”, Joseph Beuys: Make the Secrets Productive, PaceWildenstein, New York.



“Pissarro and the Paradoxes of Memory”, Musée des Impressionismes, Giverny

“A conversation: Tim Eitel and Joachim Pissarro”, Tim Eitel, Invisible Forces, PaceWildenstein, New York.

“Le de Kooning tardif” in Deadline, Musée d’Art moderne de la Ville, Paris-Musées, Paris.

“Representing Limitlessness: Rachel Howard’s Via Dolorosa: Truth is Repetition,” in Rachel Howard, Repetition is Truth – Via Dolorosa, Murderme Publications, London.


Vincent van Gogh: the Colors of the Night, with Sjraar van Heugten and Chris Stolwick, co- published by The Museum of Modern Art, New York, and the Van Gogh Museum, Amsterdam.


“The Night’s Thousand Eyes”, to: Night: Contemporary Representations of the Night, Hunter College Art Galleries, New York.


“Late de Kooning” Willem de Kooning 1981-1986, published by L&M Arts, New York.


Cézanne/Pissarro, Johns/Rauschenberg; Comparative Studies on Intersubjectivity in Modern Art, Cambridge University Press, Cambridge and New York.


Catalogue Raisonné of Camille Pissarro’s Paintings (with Claire Snollaerts), Wildenstein Institute, Paris.

Pioneering Modern Painting: Cézanne and Pissarro, Museum of Modern Art, New York.


The Thannhauser Collection of the Guggenheim Museum, The Guggenheim Museum, New York, with other authors.


“Jasper Johns’s Bridge Paintings Under Construction,” in Jasper Johns—New Paintings and Works on Paper, San Francisco Museum of Modern Art, in association with the Yale University Art Gallery, New Haven.


Introductory essay to Matisse and Picasso, by Yve-Alain Bois, Flammarion, Paris.

“Robert Indiana: Signs into Art”, in Robert Indiana—Rétrospective 1958-1998, Musée d’art moderne etd’art contemporain, Nice.

Then and Now and Later: Art Since 1945 at Yale, Yale University Art Gallery, New Haven.


Monet and the Mediterranean, Rizzoli, New York.


La Main de Giacometti,”, La Main, Institut d’Arts Visuels, Association des Conférences, Orléans.

“Pissarro in St. Thomas,” in Camille Pissarro in the Caribbean, 1850-1855: Drawings from the Collection at Olana, The Hebrew Congregation of St. Thomas, St. Thomas, U.S. Virgin Islands.


“Pissarro’s Memory,” in Camille Pissarro: Impressionist Innovator, The Israel Museum, Jerusalem.


Camille Pissarro, Abrams, New York.


The Impressionist and the City: Pissarro’s Series Paintings, Yale University Press, New Haven and London.

Camille Pissarro, Rizzoli Art Series, New York.

“Y a-t-il une mélancolie impressionniste?” in Esthétique et mélancolie, Institut d’Arts Visuels, Association des Conférences, Orléans.


Entries for The Sirak Collection, Columbus Museum of Art, Columbus, Ohio, with Richard Brettell.


Monet’s Cathedral, Rouen, 1892-1894 , A. Knopf, New York.

Iconographic and editorial research on Pissarro and Pontoise, by Richard R. Brettell, Yale University Press, New Haven and London.



“Alma Egger with Joachim Pissarro”, The Brooklyn Rail, November

Series of interviews with past international museum directors:

“Alanna Heiss with David Carrier and Joachim Pissarro”, The Brooklyn Rail, December.

“Sir Norman Rosenthal with David Carrier and Joachim Pissarro”, The Brooklyn Rail, July.

“Philipe De Montebello with David Carrier and Joachim Pissarro”, The Brooklyn Rail, May.

“Mikhael Piotrovsky with David Carrier and Joachim Pissarro”, The Brooklyn Rail, September.

Guest editor of the February issue of The Brooklyn Rail. “Art, Theory, and Infancy”, The Brooklyn Rail, February

“The Sensual Substance of the Sky: The Art of DeWain Valentine”, Press release.


“Massimiliano Gioni with David Carrier and Joachim Pissarro”, The Brooklyn Rail, December.

“JEFFREY DEITCH with David Carrier and Joachim Pissarro”, The Brooklyn Rail, October.

“Autobiographical Reflections and the Art World”, The Brooklyn Rail, April.


Jeff Koons at Almine Rech”, “Joachim Pissarro in conversation with Jeff Koons”, and “Jeff Koons: Humankind Before All”, Jeff Koons, Almine Rech Gallery, Brussels.


“Painter of Lite” (with David Carrier), Artforum, April 2011, page 75.


“Adrian Piper: Rationality and the Structure of the Self « , Artforum, December 2009, page 82.

“Greenberg, Kant, and Modernism?” Source, Notes in History of Art, Vol. XXIX No.1, Fall 2009, pp 42-48.

“Warhol à Paris” a review of “Le Grand Monde d’Andy Warhol,”, at Galeries Nationales du Grand Palais, Paris, March-July 2009, Artfourm, Summer 2009, p 350-1.


“Double Review of Molly Nesbit’s Their Common Sense and Luc Ferry’s Le sens du beau,” in The Art Bulletin, March 2002.


“Van Gogh and Gauguin: The Studio of the South”, Apollo, December 2001.


Article on the Guggenheim Bilbao, designed by Frank Gehry, Apollo, December 1997.

“Camille Pissarro, A Case Study in Impressionist Drawings”, co-authored with Christopher Lloyd, in On Paper, December 1997.


“Reforming Formlessness,” a review of L’informe, curated by Yve-Alain Bois, and Rosalind Krauss, Centre Pompidou, Apollo, winter 1996.


Review of Claude Monet (1840-1926), Art Institute of Chicago, Apollo, summer 1995.

“Mondrian’s Antinomies,” a review of Piet Mondrian, the National Gallery of Art, the Haags Gemeentemuseum, and the Museum of Modern Art, Apollo, winter 1995.


Review of The Origins of Impressionism, Musée d’Orsay, and the Metropolitan Museum of Art, Apollo, fall 1994.


Review of Cézanne Gemälde, Kunsthalle Tübingen, Apollo, May 1993. 1992 Guest-editor of special issue on Pissarro, Apollo, November 1992.

“Reading Pissarro,” a review of Correspondance de Camille Pissarro, 5 vols., edited by Janine Bailly-Herzberg, Paris and Pontoise, 1980-1991, Apollo, November 1992.

Review of Henri Matisse A Retrospective, at MoMA, Apollo, December 1992.


Review of High and Low: Modern Art and Popular Culture, Museum of Modern Art, The  Burlington Magazine, January 1991.

Review of The Fauve Landscape, Los Angeles County Museum of Art, The Burlington  Magazine, February 1991.


“Amedée revisited; an article on Ozenfant”, a review of Ozenfant and Purism, the Evolution of a style 1915-30, by Susan L. Ball, 1981 in Art Book Review, no. 3, 1983.

“From Caracas to Eragny: an article on Camille Pissarro”, a review of Pissarro by Christopher Lloyd, 1981, in Art Book Review, no. 5, 1983.

“The Great Masturbator,” a review of Dalí, by Dawn Ades, 1981, in Art Book Review, no. 5, 1983.



“The Humble and Colossal » Pissarro’s Anarchistic Theories: Cezanne’s Pissarro”, Legion of Honor, San Francisco, October 2011


“Judaism, Impressionism, Atheism and Anarchism: Pissarro’s Paradoxes”, Congregation Beth Sholom, Teaneck, New Jersey, May 2010

“Art Outside the Art World”, with David Carrier, Studio School, New York, March 2010


“Pissarro et les paradoxes de la mémoire” (Pissarro and the paradoxes of memory), Musée d’Orsay, Paris, December 2009

“Kant, Modernism and Beyond”, with David Carrier, Case University, Cleveland Ohio, November 2009

“For a Kantian Critique of Modernism”, with David Carrier, Studio School, New York, March 2009


“Polarized Visions of the Sea: Between Power and Poetry.” Wadsworth Atheneum, Hartford, Connecticut. March 2008


“Jasper Johns: Facing Up to The Task of Depicting The World. Remarks on Johns’s Largest Painting: Map (Based on Buckminster Fuller’s Dymaxion Airocean World), Ludwig Museum, Cologne” National Gallery of Art, Washington DC, April 2007


“A New Generation of Catalogue Raisonné(s): Camille Pissarro and Robert Motherwell” New York University, April 2004


“Paris 1860/New York 1960” Graduate seminar at Hunter College on the parallels and tensions between the formation of an artistic avant-garde in Paris and New York, a century apart, Spring 2003

“Matisse’s Cézanne vs. Picasso’s Cézanne,” The Museum of Modern Art: Matisse Picasso Symposium, co-organized by John Elderfield and Kirk Varnedoe, March 2003.

“Barnett Newman Vindicates Impressionism (with a Vengeance)” CAA, New York, February 2003


“If Kant truly was “The First Real Modernist” (Greenberg), what does this say about Modernism?” The Silberberg Lectures, Institute of Fine Arts, New York University, October 2002.

“The Contemporary Art World: 1972-2002: Artists turn Art Institutions Inside Out” Graduate Seminar, Hunter College, City University of New York, Fall 2002

“Intersubjectively Modern: Pissarro and Cézanne; Rauschenberg and Johns,” CAA, Philadelphia, February 2002


“Impressionism: Painters, Writers, Critics – What do they all hold in common? ” Ph.D. seminar, Yale University, Fall 2001

“Cézanne and Pissarro; Rauschenberg and Johns: Two Modern Duologues,” Guest of Graduate Students, SUNY, Stony Brook, May 2001


Chaired session on “Aragon and Picassso” in an international colloquium on Aragon, Elsa Triolet, organized by the Department of French and the Center for French and Francophone Studies, Columbia University, October 2000.

“Jasper Johns,” an undergraduate seminar on Johns’s art from its inception to the present, Yale University, Spring 2000

“Gauguin’s Odysseys: From the New World to the Old World, and Back,” series of lectures given under the aegis of both Associations of Yale and Harvard Alumni, Tahiti, Spring 2000, in collaboration with Prof. Robert Woollacott, Harvard University.

“Johns and Duchamp,” organizer of symposium at Yale University, February 2000


Series of Lectures and seminars in Australia: “Gauguin: From the Old World to the New World,” University of Melbourne; “Cézanne, Pissarro, Johns, Rauschenberg: An Odd Quadrangle,” University of Sydney; “Beyond the Future: the Third Asia Pacific Triennial of Contemporary Art,” Queensland Art Gallery, Brisbane, October-November 1999

“Reading Impressionism,” a graduate seminar on the interrelationships of impressionist art and its contemporaneous discourse, Yale University, Departments of the History of Art and of Comparative Literature, Spring 1999

“Pissarro’s Utopia: the Dystopia of the Future?” (a critique of Pissarro’s anarchism), National Gallery of Art, Washington, and National Gallery of Canada, Ottawa, June 1999


Curatorial Course: Questions of connoisseurship, conservation, and interpretation around two works ascribed to Pacino da Guida, Yale University Art Gallery, Fall 1998.

Reading Pissarro,” (a comparative analysis of the role of “reading” in painting for Pissarro vs. Poussin) National Gallery of Art.

“The Janus Face of Modernism: A Reflection on Louis Kahn Looking Both Ways,” Kimbell Art Musem.

“The Paradox of Teaching Contemporary Art – starting with Courbet” Yale University Art Gallery.

Form: Reformation vs. Counter-Reformation,” (a critique of some aporias of post- modernism), CAA, Toronto, February 1998.


“Camille Pissarro and Vincent van Gogh: When Did Impressionism Become Post- Impressionism?” Kimbell Museum of Art (repeated in Basel, and Bern in 2009).

“Mondrian’s Ultimate Modernism,” Kimbell Art Museum.

“Was Monet as Modern as Mondrian?” Kimbell Art Museum.

“The Notion of Surprise in Miró’s Sculpture,” Kimbell Art Museum.

“Pissarro and Cézanne: The Impressionism of One and the Post-Impressionism of the Other,” a critique of Roger Fry’s interpretation of Cézanne and Pissarro, (a lecture given in several venues).


“Degas and Italy: Renaissance and Impressionism,” Kimbell Art Museum.

“Why is Maillol Absent From the Modernist Canon?” Kimbell Art Museum.

“Impressionism and Contemporary Art: Is the Gap So Wide?” Dallas Museum of Art.


“The Subject—its Death and Return—in French Theory,” University of Texas, at Austin, November 1995.

“Pissarro’s Modern Memory,” (a reflection on anti-Semitism and anarchism), Northwestern University, Chicago.

“Monet and the Mediterranean: the Appeal of the Extreme,” Art Institute of Chicago.


Chairing session on « Images de l’artiste », Comité International d’Histoire de l’Art, [CIHA], with Professeur Philippe Junod, Université de Lausanne, February 1994.


“Anarchisme et sérennité: le cas Pissarro,” Université de Berne. 1992 “Monet’s Cathedrals,” National Gallery, London.

“Pissarro’s Working Methods,” National Gallery, London.

“Pissarro’s Politics and Poetics,” Birkbeck College, University of London.

“Y a-t-il une mélancolie impressionniste?” Institut d’arts visuels, Université d’Orléans.