Director of Graduate Studies
Anna Lovatt is assistant professor of art history (modern and contemporary) at Southern Methodist University. She received her Ph.D. from the Courtauld Institute of Art, London and was subsequently a Henry Moore Foundation Postdoctoral Fellow at the Courtauld. Before relocating to Dallas, she was lecturer in art history at the University of Nottingham and at the University of Manchester in the UK. She joined SMU in 2014 as the Marguerite Hoffman Scholar-in-Residence and was appointed assistant professor in 2018.
Lovatt’s research focuses on the art of the 1960s and 70s and its legacies, particularly drawing in the context of post-minimal and conceptual art. Her book Drawing Degree Zero: The Line from Minimal to Conceptual Art (forthcoming from Penn State University Press, 2019) argues that post-Minimal and Conceptual artists engaged in a critical interrogation of the practice of drawing analogous to what Roland Barthes called “writing degree zero.”
Lovatt has prioritized the work of women artists previously marginalized in accounts of the 1960s, including Rosemarie Castoro, Dorothea Rockburne, Michelle Stuart, Anne Truitt and Ruth Vollmer. In 2013–14, she curated the first retrospective exhibition of the work of Stuart, which traveled from the Djanogly Art Gallery, University of Nottingham; to the Parrish Art Museum, New York; and the Santa Barbara Museum of Art, California. An accompanying book, Michelle Stuart: Drawn from Nature, was published by Hatje Cantz in 2013.
In addition to the books and peer-reviewed articles listed below, Lovatt has contributed to exhibition catalogues for organizations including the Henry Moore Institute, Museu d'Art Contemporani de Barcelona, the New York Public Art Fund, and Tate Modern. She has lectured at venues including Dia: Beacon, the Institute of Contemporary Arts, the Menil Collection, the Morgan Library and Museum, the National Gallery of Art Washington, and Tate Modern. Her latest research project focuses on kinship in contemporary art, beginning with the Two Stage Transfer Drawings Dennis Oppenheim produced with his children in the early 1970s.
B.A. History of Art with Material Studies, University College London
M.A. and Ph.D. History of Art, Courtauld Institute of Art, London
Twentieth and twenty first century art; gender and sexuality in modern and contemporary art; feminist theory and the woman artist; picturing children and the family in art; photography and the moving image; contemporary art and critical theory.
Drawing Degree Zero: The Line from Minimal to Conceptual Art, (Pennsylvania: Penn State University Press, forthcoming in 2019)
Michelle Stuart: Drawn from Nature, (Ostfildern: Hatje Cantz, 2013). Edited by Anna Lovatt; essays by Alicia Longwell, Anna Lovatt, Jane McFadden and Nancy Princenthal; interview with Michelle Stuart by Julie Joyce.
“Janice Kerbel: Diagramming Desire” in Afterall, issue 37 (Autumn/Winter 2014)
“The Mechanics of Writing: Sol LeWitt, Stéphane Mallarmé and Roland Barthes,” Word and Image vol. 28 issue 4, (Winter 2012)
“Wavelength: Drawing and Sound in the Work of Trisha Donnelly,” Tate Papers 18, (Autumn 2012)
“Ideas in Transmission: LeWitt’s Wall Drawings and the Question of Medium,” Tate Papers 14, (Autumn 2010)
“On Ruth Vollmer and Minimalism’s Marginalia,” Art History vol. 33 issue 1, (Spring 2010)
“Dorothea Rockburne: Intersection,” October 122 (Fall 2007)