Jordan Troeller studied art history, philosophy, and German literature at the University of California, Berkeley, and at Harvard University, where she earned her PhD in the History of Art and Architecture. Her research focuses on the Bauhaus and its diaspora (particularly in the US and Latin America), photography and collage, sculpture, abstraction, textile modernism, and craft across the twentieth century. She is particularly interested in the gendered politics of reproductive labor within the visual arts, as well as feminist methodologies of art history.
Her current book manuscript considers the work of the Japanese American artist Ruth Asawa in the 1950s and early ‘60s.
In addition to having taught at the University of California, Berkeley, and at Harvard, she has held fellowships at the Dahlem Humanities Center at the Freie Universität; the Whitney Museum of American Art, New York; and the MIT List Visual Arts Center. Her research has been supported by the Henry Moore Foundation, DAAD, Fulbright, Klassik Stiftung Weimar, and Jacob K. Javits Fellowship Program for Graduate Studies in the Humanities.
“Ruth Asawa on Paper: The Two-Dimensional Work of a Sculptor,” in The Bauhaus and Harvard, Harvard Art Museums, forthcoming (September 2020).
“Anni Albers’s ‘Pliable Plane’: Writing on Architecture and the Nomadic Textile.” In: Dogramaci, B. (ed.): Textile Moderne / Textile Modernism, Böhlau Verlag, forthcoming (Fall 2019).
“Charles Darwent, Josef Albers: Life and Work,” The Burlington Magazine, forthcoming (April 2019).
“Lütgens, A. / Köhler, T. (ed.): Jeanne Mammen: The Observer. Retrospective: 1910–1975 (München 2017),” Women’s Art Journal, forthcoming (Spring/Summer 2019).
“Breuer’s New Women.” In: Otto, E. / Rössler, P. (ed.): Bauhaus Bodies: Gender, Sexuality, and Body Culture in Modernism’s Legendary Art School, Bloomsbury Academic, 313–334.
“Illuminated Loss: Warhol’s Flash—November 22, 1963.” In: Schleif, N. (ed.): Reading Andy Warhol, exh. cat. Museum Brandhorst (Munich 2013), 202–217.
“The Factographic Gesture.” In: Scepanski, K. (ed.): Liz Laser: Public Relations / Öffentlichkeitsarbeit, Westfälischer Kunstverein (Münster, Berlin 2014), 118–125.
Multiple contributions to Dackerman, S. (ed.): Corita Kent and the Language of Pop, exh. cat. Harvard Art Museums (London 2016).
Multiple contributions to Molesworth, H. (ed.): This Will Have Been: Art, Love, and Politics in the 1980s, exh. cat. Museum of Contemporary Art Chicago (London 2012).
“Against Abstraction: Zoe Leonard’s Analogue,” Art Journal 69, no. 4 (Winter 2010): 108–123.
“Zoe Leonard’s Object-Based Photography,” Prefix Photo 20: Archival Legacies 10, no. 2 (November 2009): 34–55.