• In his research, writing, and teaching, Professor Schreyach investigates how the visual effects of paintings are conveyed technically, operate culturally, and can be situated historically. Areas of expertise include art and art criticism of the nineteenth and twentieth centuries; abstract painting and the phenomenology of perception; techniques and practices of artistic communication; and the historiography of art history.

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

    Book

    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.

    • Modernism in the Visual Arts
    • History of Photography
    • Jackson Pollock and New York
    • Impressionism and the Avant-Garde
    • Twentieth-century Architecture and Urbanism
    • Theories and Practice of Art History
    • Renaissance to Modern Art