Reva Wolf teaches and writes about art of the eighteenth century to the present.  She is the author of two books:  Goya and the Satirical Print and Andy Warhol, Poetry, and Gossip in the 1960s.  Her recent work focuses on methodology, art and humor, the reception of art, Freemasonry and art, and the social history of art.  She has held fellowships at the Metropolitan Museum of Art, Harvard University, the Institute for Advanced Study, Princeton, and the Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art, Washington, DC.  She was a 2010-11 recipient of the State University of New York Chancellor’s Award for Excellence in Teaching.

Selected Recent Publications:

Co-editor, with Alisa Luxenberg.  Freemasonry and the Visual Arts from the Eighteenth Century Forward:  Historical and Global Perspectives.  New York and London:  Bloomsbury Visual Arts, 2020 [release date, November 2019].

Co-author, with Kou Huaiyu.  宇宙的玩笑与橙色亮片漆: 译介安迪·沃霍尔《波普注意》/ “Cosmic Jokes and Tangerine Flake: Translating Andy Warhol’s POPism.”  In 艺术:生活或观念:交互视野下的中国和美国的现代艺术 / Art as Life/Art as Idea:  Complementary Modernisms in China and the United States, edited by Zhang Jian and E. Bruce Robertson.  Hangzhou:  China Academy of Art, 2017, 256-293.  Conference proceedings; bilingual.  Also published in a US edition (Goleta, CA:  Punctum Books, 2020, 82-121), available through Open Access:

“Folly, Magic and Music in Goya’s Album D.”  In Goya:  The Witches and Old Women Album, edited by Juliet Wilson-Bareau and Stephanie Buck.  London:  The Courtauld Gallery, in association with Paul Holberton Publishing, 2015, 42-55.

“I’m OK—You’re OK:  Andy Warhol, Transactional Analysis, and Books.”  In Reading Andy Warhol:  Author, Illustrator, Publisher, edited by Nina Schleif.  Munich: Brandhorst Museum, in association with Hatje Cantz Publishers, 2013, 258-271.

“Thinking You Know” (1998).  In A Guide to Poetics Journal:  Writing in the Expanded Field, 1982-1998, edited by Lyn Hejinian and Barrett Watten.  (Selected writings from Poetics Journal.)  Middletown, CT:  Wesleyan University Press, 2013, 397-413.  Also in the Poetics Journal Digital Archive, published in 2015 (see

“Stars, Rainbows, and Living Dialects:  George Kubler’s Vision of History as Metaphor.”  In Debates 3 (September 2013):  29-40, at  Proceedings of the symposium “Systems of History:  George Kubler’s Portuguese Plain Architecture,” edited by Eliana Sousa Santos and published by the Centre for Social Studies (CES), University of Coimbra, Portugal.

“Seeing Satire in the Peepshow.”  In Seeing Satire in the Eighteenth Century, edited by Elizabeth Mansfield and Kelly Malone.  Oxford:  SVEC (Studies on Voltaire and the Eighteenth Century), Voltaire Foundation, University of Oxford, 2013, 167-196.

“John Bull, Liberty and Wit:  How England Became Caricature.”  In The Efflorescence of Caricature, 1759–1838, edited by Todd Porterfield.  London:  Ashgate Publishing, 2011, 49-60.

“Goya’s ‘Red Boy’:  The Making of a Celebrity.”  In Art in Spain and the Hispanic World: Essays in Honor of Jonathan Brown, edited by Sarah Schroth.  London:  Paul Holberton, 2010, 144-73.

Co-author, with Jonathan Brown, Lisa A. Banner, and Andrew Schulz.  The Spanish Manner:  Drawings from Ribera to Goya.  Exhibition catalogue.  New York:  The Frick Collection, in association with Scala Publishers, 2010.

The Shape of Time:  Of Stars and Rainbows.”  Art Journal 68 (Winter 2009):  62-70.

“The Scholar and the Fan.”  In What Is Research in the Visual Arts?  Obsession, Archive, Encounter, edited by Michael Ann Holly and Marquard Smith.  Williamstown, Mass.:  Sterling and Francine Clark Art Institute; distributed by Yale University Press, 2008, 158-67.

“Homer Simpson as Outsider Artist, or How I Learned to Accept Ambivalence (Maybe).”  Art Journal 65 (Fall 2006):  100-111.

“Through the Looking-Glass.”  Introduction to I’ll Be Your Mirror:  The Collected Andy Warhol Interviews, edited by Kenneth Goldsmith with an afterword by Wayne Koestenbaum.  New York:  Carroll & Graf, 2004, xi-xxxi and 403-09.  (Spanish translation, 2010; Russian translation, 2016.)

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