History of Art Graduate Department of Art

Legge, Elizabeth MA, PhD

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

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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