2022
2021
2020
2019
2017
“A conversation with Rick Brettell”, The Bloch Galleries, The Nelson-Atkins Museum of Art, Kansas City, Missouri.
“Monet before Monet”, Kimbell Art Museum, Forth Worth, Texas.
“How do we relate to the Modern, or is it too late?”
China Central Academy Of Fine Arts, Beijing, January.
“The Humble and Colossal" Pissarro's Anarchistic Theories: Cezanne's Pissarro”, Legion of Honor, San Francisco, October
2015
2010
“Judaism, Impressionism, Atheism and Anarchism: Pissarro’s Paradoxes”, Congregation Beth Sholom, Teaneck, New Jersey, May.
“Art Outside the Art World”, with David Carrier, Studio School, New York, March 2.
2009
“Pissarro et les paradoxes de la mémoire” (Pissarro and the paradoxes of memory), Musée d’Orsay, Paris, December.
“Kant, Modernism and Beyond”, with David Carrier, Case University, Cleveland, Ohio, November.
“For a Kantian Critique of Modernism”, with David Carrier,
Studio School, New York, March.
2008
“Polarized Visions of the Sea: Between Power and Poetry”, Wadsworth Atheneum, Hartford, Connecticut, March.
2007
“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.
2004
“A New Generation of Catalogue Raisonné(s): Camille Pissarro and Robert Motherwell”, New York University, April.
“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.
“Barnett Newman Vindicates Impressionism (with a Vengeance)” CAA, New York, February.
2002
“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.
“The Contemporary Art World: 1972-2002: Artists turn Art Institutions Inside Out” Graduate Seminar, Hunter College, City University of New York, Fall.
“Intersubjectively Modern: Pissarro and Cézanne; Rauschenberg and Johns,” CAA, Philadelphia, February.
2001
“Impressionism: Painters, Writers, Critics – What do they all hold in common?” Ph.D. seminar, Yale University, Fall.
“Cézanne and Pissarro; Rauschenberg and Johns: Two Modern Duologues,” Guest of Graduate Students, SUNY, Stony Brook, May.
2000
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.
“Jasper Johns,” an undergraduate seminar on Johns’s art from its inception to the present, Yale University, Spring.
“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.
1999
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.
“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.
“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 .
1998
Curatorial Course: Questions of connoisseurship, conservation, and interpretation around two works ascribed to Pacino da Guida, Yale University Art Gallery, Fall.
“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.
1997
“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.
1996
“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.
1995
“The Subject—its Death and Return—in French Theory,”
University of Texas, at Austin, November
“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.
1994
Chairing session on « Images de l’artiste », Comité International d’Histoire de l’Art, [CIHA],
with Professeur Philippe Junod, Université de Lausanne, February.
1993
“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.