• In his research, Professor Schreyach attempts to understand how the visual effects of paintings are conveyed technically, operate culturally, and can be situated historically--as well as how those pictorial effects might be interpreted philosophically. Other areas of expertise include the history of photography; the relationship of art and politics, 1930-1970; methods of art history; and phenomenology.

    • Ph.D., University of California, Berkeley
    • M.A., University of Texas at Austin


    • Pollock's Modernism (New Haven and London: Yale University Press, 2017).
    • TOTALITY: Abstraction and Meaning in the Art of Barnett Newman (Berkeley: University of California Press, 2023)

    Articles and Essays

    • “Visual Documentation for Barnett Newman’s Curatorial Projects, 1944-1946: Image Records for Pre-Columbian Stone Sculpture (1944) & Northwest Coast Indian Painting (1946), Source Notes in the History of Art 41:2 (Spring 2022): 208–19.
    • “Spacing Expression,” in The Nature of Abstraction: Hans Hofmann, ed. Lucinda Barnes (Berkeley: University of California Press, 2018), 111–33.
    • “Moving Vision,” in Anne Truitt: Paintings 1972-1991, ed. Craig Garrett (New York: Matthew Marks, 2018), 4–20.
    • “The Crisis of Mural as a Painting,” Getty Research Journal no. 9, Supplement 1 (November 2017): 183–99.
    • “Re-created Flatness: Hans Hofmann’s Concept of the Picture Plane as a Medium of Expression,” Journal of Aesthetic Education 49, no. 1 (Spring 2015): 44–67.
    • “Pre-Objective Depth in Merleau-Ponty and Jackson Pollock,” Research in Phenomenology 43, no. 1 (March 2013): 49–70.
    • “Intention and Interpretation in Hans Namuth’s Film, Jackson Pollock,” Forum for Modern Language Studies 48, no. 4 (October 2012): 437–52.

    Interviews and Lectures

    • Modernism in the Visual Arts 
    • History of Photography 
    • Nineteenth & Twentieth Century Art 
    • Contemporary Art Since 1945 
    • Theories and Practice of Art History 
    • Renaissance to Modern Art