Dr. Lauren Weingarden specializes in modern and contemporary art, architecture, literary theory, postmodern critical theory and word-and-image studies. She is the author of several books and articles on the late nineteenth-century American architect Louis H. Sullivan. She has published and presented extensively in the United States and internationally. Her most recent publication is Louis H. Sullivan and a 19th–Century Poetics of Naturalized Architecture (2009). Prof. Weingarden has also authored numerous articles on nineteenth-century French modernity, as defined by Charles Baudelaire and represented by Edouard Manet. She is currently completing a book based on this research titled Reflections on Baudelairean Modernity: The Mirror as a Parodic Device in 19th-century French Art and Literature. Most recently, she has extended a Baudelairean trajectory to installation art. In 2011-12 she received a Fulbright Core Scholar grant for her project, “Trajectories of Baudelairean Modernity: Brazil’s Inhotim in Context,” the topic of the seminar she concurrently taught at the Federal University of Minas Gerais. Prof. Weingarden is currently developing an experiential model of neuroaesthetics. This model extends scientific brain research to an aesthetic of rupture and the spatio-temporal dimension of experiencing Installation art and Baudelairean art.
Prof. Weingarden’s research grants and fellowships also include the Dedalus Foundation Senior Research Fellowship for studies in modernism, visiting scholar at the Institute for Advanced Study in Princeton, NJ, and the J. Paul Getty Postdoctoral Fellowship in Art History and the Humanities, held at the University of Michigan. In 2010 she held the IEAT/FUNDEP Chair in Humanities, Letters and Arts, at the Institute for Advanced Transdisciplinary Studies, Federal University of Minas Gerais, in recognition of her expertise in Word & Image Studies. Since 1990 Prof. Weingarden has served on the Advisory Board of the International Association of Word & Image Studies.
Prof. Weingarden offers undergraduate and graduate courses in 19th- and 20th-century art and architecture, Word & Image Studies, methods of art history, Installation art and neuroaesthetics. She has served as director of 14 PhD dissertations and 20 Master’s theses. She directs the FSU study abroad Paris Art & Culture program, in which she teaches “Paris Avant-Garde” and “Museums of Paris.”
Jennifer S. Pride: “Picturing Trauma in Haussmannized Paris.”
A. Morgan McCormick: “Rhetorical Pop: the Art of Roger Shimomura.”
William Carlisle McKeown: “’England’s Giorgione’: Charles H. Shannon and Venetianism in Late Victorian Art.”
Irene Nero: “Computers, Cladding, and Curves: The Techno-Morphism of Frank Gehry’s Guggenheim Museum in Bilbao, Spain.”
Kate Howe: “Accomodating the Faithful: San Bernardino de Sena and the Franciscan Program in Sixteenth-Century Yucatán, Mexico.”
Aaron H. De Groft: “John Ringling in Perpetua Memoria: The Legacy and Prestige of Art and Collecting.”
Sherry Piland: “Charles Mulford Robinson : Theory and Practice in Early Twentieth-Century Urban Planning.”
Vicki Wylder: “Judy Chicago’s Dinner Party and The Birth Project as Religious Symbol and Feminist Theology.”
Eloise E. Johnson: “A Critical Study of the Modernist Neglect of the Harlem Renaissance.”
Susan Braden: “The Florida Hotels of Henry Plant and Henry Flagler.”
William Carl Shiver: “The Historic Architecture of Key West: The Triumph of Vernacular Form in a Nineteenth Century Florida Town.”
List of FSU Art History dissertations
“Mirroring Naturalism in Word and Image: A critical exchange between Émile Zola and Edouard Manet.” In David Kennedy and Richard Meek (Eds.), Ekphrastic Encounters: New Interdisciplinary Essays on Literature and the Visual Art. (Manchester: Manchester University Press, 2018). pp. 144-164.
“Framing an experiential aesthetics: The affective turn in contemporary installation art.” In Notions esthétiques (II) : la perception sensible organisée. Sous la direction de Véronique Alexandre Journeau et Christine Vial Kayser. Paris, éditions L’Harmattan, collection “L’univers esthétique”. 2015
“Installation Art and Experiential Aesthetics: Mediating Art History and Neuroscience Research,” Proceedings of the Twenty-third Biennial Congress of the International Association of Empirical Aesthetics. 2014.
“Imaging and Imagining the French Peasant: Gustave Courbet and Rural Physiologies,” Nineteenth-Century Art Worldwide 12:1 (Spring 2013).
“The Performative Turn at Inhotim: Installation Art and Baudelairean Modernity,” Aletria: Revista de Estudos de Literatura 23, no.3 (2013): 13-30.
“Manet’s Realism and the Erotic Gaze: Photography and Censorship.” In Catriona McLeod and Veronique Plesch (Eds.), Efficacy/Efficacité: Word & Image Interactions 7 (pp. 287-304). Amsterdam/ New York: Editions Rodopi, 2011.
Louis H. Sullivan and a 19th–Century Poetics of Naturalized Architecture. London, UK: Ashgate Publishing Co., 2009.
Louis H. Sullivan: A System of Architectural Ornament. Co–published by the Art Institute of Chicago and Ernst Wasmuth Verlag (Germany); distributed by Rizzoli International (U.S.), Wasmuth (Germany), Mardaga (France), 1990.
Louis H. Sullivan: The Banks. Cambridge, MA: MIT Press, 1987.
Faith and Form: Synagogue Architecture in Illinois. Chicago: Spertus College of Judaica Press, 1976.
“Benjamin’s Elective Affinities: Re–assessing ‘The Paris of the Second Empire in Baudelaire.’” In Stephanie Moore Glaser (Ed.), Media inter Media. Essays in Honor of Claus Clüver (pp. 187-203). Amsterdam, New York, NY: Rodopi, 2009.
“Modernizing History and Historicizing Modernity: Baudelaire and Baudelairean Representations of Contemporaneity.” In Catriona McLeod and Veronique Plesch (Eds.), Elective Affinities, Word & Image Interactions 6 (pp.187-203). Amsterdam/New York: Editions Rodopi, 2009.
“The Photographic Subversion: Benjamin, Manet and Art(istic) Reproduction,” in Reproducing Art: Walter Benjamin’s Work of Art Essay Reconsidered, InterCulture special issue, 51 (Spring 2008): 1-24. Republished: ALETRIA: Revista de estudos de literatura: Intermedialidade (Brazil) 14: 225-45.
“Baudelairean Modernity and Mirrored Time.” In Götz Pochat (Ed.), Kunsthistorisches Jahrbuch Graz 29/30 (pp. 125-138). Germany: Akademische Druck– und Verlagsanstalt Graz, 2005.
“The Mirror as a Metaphor of Baudelairean Modernity,” In Claus Clüver et al (Eds.), Orientations: Space/Time/Image/Word, Word & Image Interactions 5 (pp. 16–36). Amsterdam/New York: Editions Rodopi, 2005. Republished: “Re–viewing Baudelaire’s Paris: Photography, Modernity and Parody,” Writing and Seeing: Essays on Word and Image (pp. 145–156). Rui Carvalho Homem and Maria de Fátima Lambert (Eds.). Amsterdam/New York: Editions Rodopi, 2005.
“The Place of Art Historiography in Word & Image Studies: Manet’s ‘A Bar at the Folies-Bergère’ and the Naturalist Novel.” In Martin Heusser, et. al (Eds.), The Pictured Word: Word & Image Interactions 2.