Matthew Hunter’s research focuses upon visual art and architecture of the long eighteenth century with special emphasis on their intersections with science. As in his book, Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London (University of Chicago Press, 2013), his primary publications center upon early modern England. His broader research interests move between the early modern period and the contemporary moment to include theories of representation, models of artistic collectivity and “the artworld”, the limits of interpretative method and, above all, the interfaces between physical materials and cognitive processes—between making and knowing. He is an editor of Grey Room.
Supported by Fonds de recherche du Québec–Société et Culture and the Social Sciences and Humanities Research Council, he is presently developing a new project on Joshua Reynolds’s experimental chemistry and the longer history of the temporally evolving chemical object in the British Enlightenment. His research has been supported by the Kress Foundation, Social Science Research Council, Whiting Foundation, and the Courtauld Institute of Art’s Research Forum, among others. For more information, please see: http://sites.google.com/site/matthewhuntersite/
Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London (Chicago: University of Chicago Press, 2013)
“Picture, Object, Puzzle, Prompter: Devilish Cleverness in Restoration London,” Art History: Special Issue “The Clever Object” 36, 3 (May 2013): 546-567
“The Clever Object: Three Pavilions, Three Loggias, and a Planetarium,” Art History: Special Issue “The Clever Object” 36, 3 (May 2013): 474-497; with Francesco Lucchini
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
Course Offerings and Supervision
Closely interwoven with his research, Hunter’s teaching aims to integrate analysis of visual artifacts with broader historical, theoretical and interpretive problems. Hunter is interested in supervising students at the M.A. and Ph.D. level who are pursuing projects on the “long” eighteenth century or in other domains of his research interests. In addition to surveys of long eighteenth century art and architecture, some recent courses offered include “Liquid Intelligence: Thinking the Fluid Image in the Long Eighteenth Century” (Fall 2013), “Making and Knowing: Art and Science in Early Modern Europe” and a graduate seminar on Michael Fried and his interlocutors (offered Fall 2014).