BA (McGill), MA (Toronto), PhD (CUNY)
Professor Adler’s areas of research include the history of art writing, German modernism, Frankfurt School theory, conceptual art, and the theory and history of contemporary art. He teaches courses in 19th and 20th century art, with particular interests in 19th-century European painting, French and German Dada, and the development and reception of the conceptual art movement.
Professor Adler is the author of Hanne Darboven: Cutural History 1880-1983 (Afterall Books/MIT Press 2009), co-editor (with Mitchell Frank) of German Art History and Scientific Thought: Beyond Formalism (Ashgate Press, 2012), and co-editor (with Janine Marchessault and Sanja Obradovic) of Parallax: Stereoscopic 3D in Moving Images and Visual Art (Chicago: Intellect Books/University of Chicago Press, 2013). Recent catalogue essays include those focused on the work of Bill Burns, Kristan Horton, Kelly Mark, and Michaela Meise. A former senior editor of the Bibliography of the History of Art at the Getty Research Institute in Los Angeles, he has published in the journal Art History and regularly contributes reviews to Artforum, C Magazine, and Border Crossings. He is currently completing a book manuscript on the aesthetics of contemporary assemblage sculpture, addressing the work of Geoffrey Farmer, Isa Genzken, Rachel Harrison, and Liz Magor.
In addition to his formal university studies, Dr. Adler is an alumnus of the Whitney Museum’s Independent Study Program. His curatorial credits include the exhibitions “Francis Bacon and Henry Moore: Terror and Beauty” (2014) held at the Art Gallery of Ontario and “When Hangover Becomes Form: Rachel Harrison and Scott Lyall” (2006), held at the Contemporary Art Gallery in Vancouver and Los Angeles Contemporary Exhibitions (LACE). Next year, he will be co-curating (with Lesley Johnstone) a Liz Magor retrospective exhibition, to be held at the MAC in Montreal (June – September 2016).