• 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

    • “Apertures,” in Peter Joseph: A Monograph, ed. Alex Bacon (London and New York: Lisson Gallery, 2024), 106–20. 446 pages, illus.
    • “Review of Richard Shiff, Writing After Art: Essays on Modern and Contemporary Artists” (New York: David Zwirner, 2023),Burlington Magazine 165 (December 2023): 1253–54.
    • “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 41:3 (Spring 2022): 208–19; and “Commentary and Assessment,” Source Notes in the History of Art 41:4 (Summer 2022): 287–98.
    • “Untouchable,” in Elizabeth Mead: Fictional Reality (Berkeley, CA: Rawls Museum of Art, 2021),  26–37. 41 pages, illus.
    • “Spacing Expression: Standpoint and Point of View in the Theory and Practice of Hans Hofmann,” in The Nature of Abstraction: Hans Hofmann, ed. L. Barnes (Berkeley: University of California Press, 2019), 111–33.
    • “What Painting Can Do,” in Michael Reafsnyder: New Paintings (New York: Miles McEnery Gallery, 2019), 3–31. 84 pages, illus.
    • “Shifting,” response to Richard Shiff, “Reality by Chance,” Brooklyn Rail (October 2019): 44–45.
    • “Moving Vision,” in Anne Truitt: Paintings 1972–1991, ed. Craig Garrett (New York: Matthew Marks, 2018), 4–20.­­­­ 75 pages, illus.
    • “The Crisis of Jackson Pollock’s Mural as a Painting: Formalist Criticism, Anamorphic Projection, and Pictorial Address in Abstraction after Mexican Muralism,” Getty Research Journal  No. 9, Supplement 1: Special Issue: Examining Pollock: Essays Inspired by the Mural Research Project (November 2017): 183–99.
    • History & Desire: A Short Introduction to the Art of Cy Twombly [2010] (San Antonio: Trinity University Coates Library, 2017). Open Access E-Book. https://digitalcommons.trinity.edu/mono/65/
    • “Kandinsky: Tactical, Operational, Strategic,” review of Lisa Florman, Concerning the Spiritual and the Concrete in Kandinsky’s Art (Stanford University Press, 2014), Nonsite.org 20 (Fall 2016): n.p.
    • “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.
    • “Barnett Newman: Self-Creation,” in The Encyclopedia of Aesthetics, 6 vols. Second Edition, ed. M. Kelly (Oxford: Oxford University Press, 2014), vol. 4: 496–9.
    • “John Dewey: ‘Experience’ and ‘Art’,” in The Encyclopedia of Aesthetics, 6 vols. Second Edition, ed. M. Kelly (Oxford: Oxford University Press, 2014), vol. 2: 367–72.
    • “Representing Actuality,” review of Alex Potts, Experiments in Modern Realism (Yale University Press, 2014), Art Journal 73, no. 4 (Winter 2014): 78–81.
    • “Pre-Objective Depth in Merleau-Ponty and Jackson Pollock,” Research in Phenomenology 43, no. 1 (March 2013): 49–70.
    • “Automatism and Agency,” review of Charles Palermo, Fixed Ecstasy: Joan Miró in the 1920s (Penn State University Press, 2008), CAA.reviews (February 2013): n.p.
    • “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