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Marissa Vigneault’s research focuses on the role of performance and performativity in modern and contemporary art, with particular attention on the construction of identity in visual culture (fashion, burlesque, and films). Dr. Vigneault’s current book manuscript, titled Sugargiver: Hannah Wilke and the Visual/Cultural History of New York City, examines pioneering feminist artist Hannah Wilke (1940-1993), whose body-oriented performances and video art in the 1970s contributed to the art world’s re-visioning of the female nude, and emphasizes her art’s connections with New York City’s avant-garde fashion industry, department stores, burlesque clubs, cinema and television, and other “low culture” displays of female nudity and feminine spectacle in order to demonstrate the intersection between her feminist tactics and those of mass-market consumerism. Dr. Vigneault’s publications include essays in Women’s Studies (Routledge, 2012) and the anthology Contemporary Art and Classical Myth (Ashgate, 2011; reprint 2016), as well as essays for museum catalogues. She has presented her research at the College Art Association conference (2018, 2015); Feminist Art History conference (2018); University of Johannesburg (2018); Columbia University (2017); Association of Art Historians conference (2017); SECAC (2018; 2017, 2016, 2012, 2011); and Association of Historians of American Art conference (2014). She is currently a book reviews editor for Panorama, the online peer-review journal of AHAA.

Dr. Vigneault is committed to working with contemporary artists; she received the Caine College of the Arts Outstanding Undergraduate Research Mentor award (2017), currently serves on a number of M.F.A. student committees, and has served as a juror for the internationally renowned residency program at the Bemis Center for Contemporary Art. Before joining the faculty at USU, Dr. Vigneault taught modern and contemporary art at the University of Nebraska–Lincoln, where she received the Junior Faculty Achievement Award in Teaching for the Hixson-Lied College of Fine and Performing Arts (2014). From 2010 to 2012 she ran Parallax Space, a project gallery in Lincoln, Nebraska, dedicated to exhibiting contemporary local and regional artists. She also guest curated an exhibition of work by Bruce and Jean Conner from the 1950s, which was on view at the Sheldon Museum of Art from January to May 2016. In October 2017, Dr. Vigneault participated in TEDxUSU. Her talk focused on the response of contemporary artists and institutions to current global politics, specifically the U.S. travel ban instituted in February 2017.

Recent Publications

Collecting on the Edge: Nora Eccles Harrison Museum of Art. Entry on Bruce Conner. (Boulder: University Press of Colorado, 2018).

“Some place…not too far away”: Bruce and Jean Conner at the University of Nebraska,” Sheldon Museum of Art, Lincoln, NE, 2016.

http://sheldonartmuseum.org/pdf/16_Conner_guide_D.pdf

Sheldon Museum of Art Works on Paper Catalogue. Entries on Robert Arneson, Bruce Conner, Leslie Dill, Kathe Kollwitz, Lee Krasner, Glenn Ligon, Agnes Martin, and Morton Schamberg. (Lincoln: University of Nebraska Press, 2016).

Sheldon Museum of Art Painting Catalogue. Entries on Ilya Bolotowsky, Willem de Kooning, Kim Dingle, Helen Frankenthaler, Lee Krasner, Hung Liu, Alice Neel, and Bradley Walker Tomlin. (Lincoln: University of Nebraska Press, 2014).

“Are You Qualified?,” Women’s Studies: An Interdisciplinary Journal (special issue: What is the Woman Artist Today?) v. 41 n. 8 (November 2012): 891-903.

“The Porous Space of Bracha L. Ettinger’s Eurydices” in Contemporary Art and Classical Myth, eds. Jennie Hirsh and Isabelle D. Wallace (London: Ashgate Publishing, 2011/reprinted 2016): 111-33.

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Dr Marissa Vigneault

Country Focus

United States

Expertise by Geography

France, United States

Expertise by Chronology

19th century, Modern, 20th century, 21st century

Expertise by Topic

Art & Architectural History, Gender, Museums, Women