Maria Gough is Joseph Pulitzer, Jr. Professor of Modern Art in the Department of History of Art and Architecture. Her primary area of research and teaching is European Modernism (1890-1950), with a particular emphasis on the Russian and Soviet avant-gardes, and a secondary interest in contemporary art. Before joining the faculty in 2009, she taught at Stanford University (2003-2009) and the University of Michigan (1996-2003).
Tackling problems in the history of abstraction, drawing, sculpture, para-architecture, photography, print media, propaganda, exhibition design, museology, and the relationship between aesthetics and politics, her research has appeared in journals such as October, New German Critique, Modernism/modernity, RES: Journal of Anthropology and Aesthetics, Parkett, Artforum, and the Cahiers du Musée national d'art moderne, and also in various exhibition catalogues. Her book on the Constructivist debates of the 1920s, The Artist as Producer: Russian Constructivism in Revolution, was published by the University of California Press in 2005. Among her recent publications are "Kentridge's Nose" (October 134 ), “Ad Infinitum,” in Josiah McElheny: Some Pictures of the Infinite (Boston: ICA, 2012), “Making It Palpable,” in Monika Sosnowska (Aspen Art Museum, 2013), “Model Spectacle,” in Tatlin: neue Kunst für eine neue Welt (Museum Tinguely, 2013), and “New In Print,” in Fernand Léger and the Modern City (Philadelphia Museum of Art, 2013). She is currently working on two book manuscripts, one on El Lissitzky and Gustavs Klucis (Gustav Klutsis) in the 1920s-1930s, the other on the photographic practices of foreign travelers in the Soviet Union during the Stalinist 1930s.