History of Art Graduate Department of Art

Legge, Elizabeth MA, PhD

Associate Professor, Modern and Contemporary Art (UT St. George)

Email: eliz.legge@utoronto.ca

Elizabeth Legge has written on Dada, Surrealism, and contemporary Canadian and British art, in a number of journals including Art History, Word and Image, and Representations. Her interests include: the ways that artists have worked with and against language, the relationship of language and image; and the instrumental uses of religious, racial, and national stereotypes and rhetorics in art. In 2005 she was a visiting professor at the Humanities Centre at Johns Hopkins University.

Education
  • PhD Courtauld Institute
Selected Publications
  • “When Awe turns to ‘awww’:  Jeff Koons’s Balloon Dog and the Cute Sublime,” in The Aesthetics and Affects of Cuteness, Joshua Dale, Joyce Goggin, Julia Leyda, Anthony P. McIntyre, and Diane Negra eds. (London: Routledge, 2017)

  • “Boring Cool People: Some British Boredoms,” in Boredom Studies: Postdisciplinary Inquiries. Julian Haladyn and Michael Gardiner eds. (London: Routledge, 2016)

  • “Nothing, ventured: Paris Dada into Surrealism,” in David Hopkins ed., Blackwell Companion to Dada and Surrealism (London: Blackwell, 2016) 11,000 words

  • Michael Snow’s Wavelength (Afterall/MIT, 2009)

  • Max Ernst: The Psychoanalytic Sources, Ann Arbor: UMI Research Press, 1989 (Series: “The Avant Garde”, ed. Stephen C. Foster)

  • Editing out the image, co-editor with Mark Cheetham and Catherine Soussloff (University of Toronto Press, 2008)

  • Book Chapter: “Creativity re-purposed: The Institute: Or What We Do for Love,” in Vera Frenkel, in Sigrid Schade (ed) (Stuttgart:  Hatje Cantz, 2013)

  • Book Chapter: ” Blinds and Blackness: Looking Again at Tristan Tzara,” in Dada: Virgin Microbe, David Hopkins and Michael White (eds) (Northwestern University Press: 2012), (Forthcoming 2012)

  • “Analogs of Loss: Vera Frenkel’s …body missing,”  in Barbie Zelizer, ed., Visual Culture of the Holocaust (Newark: Rutgers University Press, 2000)

  • Edited and introduced section for Transmission IV: Labour, Work, Action. Essays by Jordan Bear, David Hopkins, Mary Lou Lobsinger, Dana Macfarlane, and John Ricco,

  • Editor and Introduction, University of Toronto Quarterly special issue, “Art in the University of Toronto Collections,” 66:2 (Spring 1997)

  • John Stalin: Please be nice,” Transmission Annual IV: Labour, Work, Action. Edited by Michael Corris, Jaspar Joseph-Lester, Sharon Kivland. Artwords Press, London, 2013

  • “Digital Snow:  An introduction,” in Michael Snow, Digital Snow (Paris, Montreal: Daniel Langlois , 2012) http://www.fondation-langlois.org/html/e/page.php?NumPage=2246

  • “A conversation with Michael Snow,” Brick: A Literary Journal, no. 86 (Winter 2012)

  • “The long hard undersell: once more back to yBas,” Transmission Annual III: Provocation. Edited by Michael Corris, Jaspar Joseph-Lester, Sharon Kivland. Artwords Press, London, 2012.

  • “The Centre is the Biggest Hole,” review article, Oxford Art Journal (Spring 2012).

  • “Faire de son histoire une boucle (noire): some ways of looking at Tristan Tzara,” Art History 32:1 (2009): 144-76.

  • “‘A Better Place’: Bureaucratic Poetics in Vera Frenkel’s …Body Missing and The Institute.” Journal of Canadian Art History, XXIX (Spring 2008): 90-112.

  • “Reinventing Derivation: Roles, Stereotypes, and ‘Young British Art’,” Representations 71(Summer 2000): 1-23.

  • “‘Only half saying it…’: Max Ernst and Emblems,” Word and Image 16:3 (September 2000): 239-269.

  • “Taking it as Red: Michael Snow’s Wittgenstein,” Journal of Canadian Art History, 18 (1997): 68-91.

  • “Thirteen Ways of Looking at a Virgin: Picabia’s La Sainte Vierge,” Word and Image 12:2  (April-June 1996): 218-242.

  • “Novalis’s fossils, Zeuxis’s grapes, Freud’s flowers, Max Ernst’s natural history,” Art History 16 (March 1993): 147-172.

  • “Posing Questions: Max Ernst’s Au rendez-vous des amis,” Art History 10 (June 1987): 227-243

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