Interest and Bio:
Matthew Hunter’s research focuses on relations between visual media, their materiality and the thinking they engender especially in the arts and sciences of the early modern period. While his primary publications center on the “long” eighteenth century, his broader interests move between history/philosophy of science and contemporary artistic practice to explore theories of representation, models of artistic collectivity and above all, the interfaces between visual media and cognitive processes — between making and knowing. He is the author of Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London (Chicago: University of Chicago Press, 2013) and has co-edited two volumes: Beyond Mimesis and Convention: Representation in Art and Science (New York: Springer, 2010) and The Clever Object (a special issue of Art History, forthcoming as a free-standing book in October 2013). He is principal investigator of the FQRSC/SSHRC-funded project “Liquid Intelligence: The Temporally-Evolving Chemical Object in the British Enlightenment;" co-organizer of “Modeling/Modelling” (a research project centered at the California Institute of Technology and the Courtauld Institute of Art); and a member of “Before Theory” and “The Instruments Project.” An editor of Grey Room, he is presently developing a new book project on Joshua Reynolds’s chemistry and the temporally evolving chemical object in the British Enlightenment.
Matthew Hunter is Assistant Professor in the Department of Art History and Communication Studies. He received his BA (Phi Beta Kappa) in Studio Art from Reed College in 1997, and his MA (2000) and PhD (2007) from the Department of Art History at the University of Chicago. Prior to coming to McGill, he was Weisman Postdoctoral Instructor in Art History at California Institute of Technology (2008-2011).
Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London (Chicago: University of Chicago Press, 2013)
Beyond Mimesis and Convention: Representation in Art and Science (New York: Springer, 2010); edited with Roman Frigg
“Experiment, Theory, Representation: Robert Hooke’s Material Models,” in Beyond Mimesis and Convention: Representation in Art and Science, eds. R. Frigg and M. Hunter (New York: Springer, 2010), 193-219
“The Theory of the Impression According to Robert Hooke,” in Printed Images in Early Modern Britain: Essays in Interpretation, ed. Michael Hunter (Aldershot: Ashgate, 2010), 167-190
“Hooke’s Figurations: A Figural Drawing Attributed to Robert Hooke,” Notes and Records of the Royal Society of London 64 (March 2010): 251-260
“Iconoclasm and Consumption; or, Household Management According to Thomas Cromwell,” in Iconoclasm: Contested Images, Contested Terms, eds. R. Clay and S. Boldrick (Aldershot: Ashgate, 2007), 51-73
Visit Professor Hunter's faculty page here.