User:Call Sheilah/sandbox

Susan Dackerman (born 1964) is a published author, museum professional and scholar. Dackerman has held posts at the Baltimore Museum of Art, Harvard Art Museums, Getty Research Institute, and Stanford University. She currently lives in Los Angeles, California, where she is writing a book about Albrecht Dürer’s prints and the Islamic East.

Early life and education
Born in New York City in 1964, Dackerman attended public schools in Valley Stream, NY on Long Island. Upon earning her High School diploma, Dackerman attended Vassar College in Poughkeepsie, NY, where she obtained her Bachelor of Arts degree in Art History. She went on to Bryn Mawr College where she received her Ph.D. in 1995 with her dissertation “The Danger of Visual Seduction: Netherlandish Prints of Susanna and the Elders,” under her advisor, Christiane Hertel.

Career
Susan Dackerman began her career at the Baltimore Museum of Art in 1995 as an Assistant Curator, eventually becoming an Associate Curator (1998-99), and finally served as Curator, Department of Prints, Drawings, Photographs, and Illustrated Books from 1999-2004. Dackerman then accepted a position with Harvard Art Museums in 2005, serving as Carl A. Weyerhaeuser Curator of Prints and Consultative Curator, where she directed collaborative exhibition projects and produced publications, involving faculty, students, conservators, librarians, and museum educators. Dackerman also participated in the planning for the architectural renovation and re-installation of the Harvard Art Museums building.

In 2015, following her decade-long tenure at Harvard Art Museums, Susan Dackerman left Cambridge for California, and accepted roles as Consortium Professor and Getty Scholar with Getty Research Institute. Dackerman taught the graduate seminar, “Art and Anthropology,” to students from a consortium of southern California universities. In her role as Getty Scholar, Dackerman researched and lectured on early modern northern European depictions of the Islamic East, and researched and wrote a catalogue raisonné on Jasper Johns monotypes. In 2017, Dackerman was appointed director of Cantor Center for Visual Arts at Stanford University where she oversaw the artistic program operation of the Stanford University art museum.

Since the early 2000s, Susan Dackerman has frequently contributed to prize-winning essay collections, including Corita Kent and the Language of Pop (winner: International Fine Print Dealers Association Annual Book Prize, 2016 ), and Prints and the Pursuit of Knowledge in Early Modern Europe (winner: Roland H. Bainton Prize in Art History, Sixteenth-Century Society, 2012 ; winner: International Fine Print Dealers Association Annual Book Prize, 2011 ).

Publications
Dürer’s Knots: Early Modern Print and the Ottoman World, Princeton University Press (forthcoming 2024)

Corita Kent – the Complete Screenprints, 2 vols., Montreal: Atelier Éditions (forthcoming fall 2022)

A Gallery Guide to the Melancholy Museum: Love, Death, and Mourning at Stanford – A Mark Dion Project, edited by Susan Dackerman and Paula Findlen, California: Cantor Arts Center, Stanford University, 2019

“Dürer’s Melencolia I: An Allegory of Creation,” in Inspired: Essays in Honor of Susan Donahue Kuretsky, Poughkeepsie: Frances Lehman Loeb Center at Vassar College, 2018

Jasper Johns: A Catalogue Raisonné of the Monotypes, with Jennifer Roberts, Matthew Marks Gallery and Yale University Press, 2017

Corita Kent and the Language of Pop, edited by Susan Dackerman, with essays by Julia Bryan-Wilson, Susan Dackerman, Richard Meyer, and Jennifer Roberts, Cambridge: Harvard Art Museums with Yale University Press, 2015

Prints and the Pursuit of Knowledge in Early Modern Europe, edited by Susan Dackerman, with essays by Susan Dackerman, Lorraine Daston, Katharine Park, Suzanne Karr Schmidt, and Claudia Swan, Cambridge: Harvard Art Museums with Yale University Press, 2011

“Dürer’s Etchings: Printed Drawings?” in The Painter-Etcher in Early Modern Europe, Pennsylvania State University Press, 2006

Painted Prints: The Revelation of Color in Northern Renaissance and Baroque Engravings, Etchings, and Woodcuts, edited by Susan Dackerman, with essays by Susan Dackerman and Thomas Primeau, The Baltimore Museum of Art and Pennsylvania State University Press, 2002