Dr. Adam Jolles
Associate Professor
Modern European Art and the History of Photography
Chair, Department of Art History
PhD The University of Chicago
Directive status: Doctoral
1019B William Johnston Building
(850) 644-1250
ajolles@fsu.edu
Adam Jolles joined the Department of Art History in 2002. His research concerns late European modernism, focusing in particular on interwar developments in France and the former Soviet Union. Recently, he has been exploring the evolution of continental display practices in relation to contemporaneous discourses on avant-gardism, ethnography, and totalitarianism. He is also interested in the history of photography, the history of propaganda, and, more broadly, issues concerning European colonialism and visual culture.
He is currently working on the following research projects:
- “The Bolshevik, the Degenerate, and the Eternal Jew” (an article-length study with Konstantin Akinsha on the emergence of a federal expository program in National Socialist Germany).
- “Comparative Idolatry” (an article-length study of the status of religious objects in Stalinist Russia).
- The Curatorial Avant-Garde: Surrealism and the Making of the Modern Exhibition in France, 1925–1938 (a book-length examination, forthcoming with Penn State Press, of the exhibition practices of the French interwar avant-garde).
Professor Jolles was a Fulbright fellow in France (1999–2000), and a Whiting Fellow in the Humanities at The University of Chicago (2000–2001). He was awarded a First-Year Assistant Professor Research Grant (2003) and a Planning Grant (2005) by the Council on Research and Creativity at Florida State University.
Selected Publications
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Co-curator and contributing author to Peter Kort Zegers and Douglas W. Druick, eds., Windows on the War: Soviet TASS Posters at Home and Abroad, 1941–1945, The Art Institute of Chicago and Yale University Press, 2011. |
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“On the Third Front: The Soviet Museum and Its Public during the Cultural Revolution” (co-authored with Konstantin Akinsha), Canadian-American Slavic Studies 43 (Spring–Winter 2009); reprinted in Anne Odom and Wendy Salmond, eds., Treasures into Tractors: The Selling of Russia’s Cultural Heritage, 1917–37, Washington, D.C. and Seattle: Hillwood Estate, Museum, and Gardens and the University of Washington Press, 2009.
“The Tactile Turn: Envisioning a Post-Colonial Aesthetic in France,” Yale French Studies 109 (June 2006).
“Stalin’s Talking Museums,” Oxford Art Journal 28 (October 2005).
“Espèces d’espaces surréalistes: Architecture/Mise-en-scène/Exposition” in Jacqueline Chénieux-Gendron, ed., Pensée de l'expérience, travail de l'expérimentation au sein des surréalismes et des avant-gardes en Europe (Paris/Leuven: Peeters, 2005).
“V strani bez slovarya?,”in T. Balashova and H. Sheno-Handron, eds., Prevratnosti Vybora: Antologii i slovari v praktike surrealizma i avangarda (Moscow: Institut mirovoy literatury im. A. M. Gorkogo, 2004).
“‘Visitez l’exposition anti-coloniale!’ Nouveaux éléments sur l’exposition protestataire de 1931: Paul Eluard, La vérité sur les colonies; Aragon, La vérité sur les colonies: Une salle de l’Exposition anti-impérialiste,” in Pleine Marge 35 [Paris] (June 2002).
Lecture Courses Offered
- History of Photography
- Modern European Art: Neoclassicism through Impressionism
- Modern European Art: Post-Impressionism through Surrealism
Recent Graduate Seminars
- Pastiche
- The Relevance of Surrealism
- The Soviet Moment in Russian Art
- Violence and Representation
- European Modernism and the New Vision
- The Modern Art Exhibition
- Theories of the Grotesque