New York Faculty

Dr. Ágnes Berecz

Associate Professor, Christie's Education New York



Ágnes Berecz received her B.A. and M.A. from ELTE University in Budapest and completed her Ph.D. at Université Paris I (Panthéon-Sorbonne). Berecz specializes in post-war and contemporary art with a particular focus on transnational modernism and the cultural politics of painting.

Her writings have appeared in Art Journal, Art in America, Artmargins and the Yale University Art Gallery Bulletin as well as in European and US exhibitions catalogues. Berecz is the author of the book, Contemporary Hungarian Painting (2001), and the New York correspondent of Műértő, a Budapest based art monthly.

Research Interests

Research Interests

Agnes most recent work includes the two volume monographic study, Simon Hantaï, and the essay, ‘Time to Knot’, published in the catalogue of Hantaï’s retrospective exhibition at the Musée National d’Art Moderne in Paris. She teaches at the Pratt Institute and lectures at The Museum of Modern Art in New York.
Publications and Exhibitions

Publications and Exhibitions

Simon Hantaï, vols. I-II, (Budapest: Maklary Fine Arts, 2013) 

Contemporary Hungarian Painters (London: Shashoua Press, 2001)

Edited Book

Nulla Dies Sine Linea: Krisztina Passuth Festschift, with Erzsébet Tatai and Mária Molnár (Budapest: Praesens, 2007)

Peer-Reviewed Academic Papers

“Painting Lesson: Hantaï and His Critics”, Art Journal (Winter 2008): 12-20.

“Grand Slam: Histories of and by Georges Mathieu,” Yale University Art Gallery Bulletin (2008): 39-48. 

“Au-delá de ressemblance. Les papiers découpés de Henri Matisse et le pliage de Simon Hantaï,” Acta Historiae Artium (Tom. 40/1998)

Book Chapters

Get There First, Decide Promptly: The Richard Brown Baker Collection of Postwar Art, ed. by Jennifer Farrel (New Haven: Yale University Press, 2011) 

“Between Women: Women Artists and Feminist Discourse in the Hungary of the 1990s” in Gender Check: A Reader. Art and Theory in Eastern Europe, ed. by Bojana Pejic (Wien: Museum Moderner Kunst Stiftung Ludwig, 2010), 331-341. 

“Please Recycle!” in Exposed Memory: Domestic Photography in Private and Collective Memory, eds. by Zsófia Bán  and Hedvig Turai (Budapest: Central European University Press and AICA, 2010), 136-146. 

“Cézanne, az Atya: Fülep, Tolnay es Kállai Cézanne-recepciójáról” [Cézanne, The Father: On Cézanne’s Hungarian Reception by Fülep, Tolnay and Kállai] in Maradandósag és változás [Permanence and Change], ed. by Gábor Pataki (Budapest, MTA Művészettörténeti Kutatóintézet, Képző- és Iparművészeti Lektorátus, 2004), 433-441.

Selected Exhibition Catalogues

“Time to Knot” in Simon Hantaï, eds. by Alfred Paquement, Dominique Fourcade, Isabelle Monod-Fontaine (Paris: Musée national d’art moderne, Centre Georges Pompidou, 2013), 235-245. 

“After Iris, Freely” in Hungarian Photography at the Millenium, ed. by Péter Baki (Budapest: Hungarian National Gallery, 2013), 124-131. 

“Close Encounters: On Pierre Restany and Nouveau Réalisme”, New Realisms, 1957-1962, ed. by Julia Robinson (Madrid: Museo Nacional Centro de Arte Reina Sofia, 2010), 53-62

Judit Reigl: Works, 1951-1973 (Budapest: Maklary Fine Arts, 2008) 

Judit Reigl: A Survey (New York: Janos Gat Gallery, 2007) 

“A Bizarre Afternoon” [Egy bizarr délutan] in The Model: Female Nude Imagery in 19th Century Hungarian Art, ed. by Györgyi Imre (Budapest: Hungarian National Gallery, 2004), 175-186. 

“Hajnal Németh,” Central, artLab, Neue Kunst aus Mitteleuropa (Leverkusen: Museum Morsbroich, 2002)

“How to Refuse an Invitation to Waltz?,” Unterwegs nach Timbuktu, hrsg. Barbara Barsch (Berlin: ifa Galerie, 2002) 

Man and Machine: INERS,” Social Intercourse (Biennale di Venezia 49, Hungarian Pavilion, 2001) 

The INERS Project: Antal Lakner (Berlin: Kunsthaus Bethanien, 2001) 

“Images: Hajnal Németh,” Parce que c’était moi, parce que c’était lui (Luxembourg: CASINO, 2001)
Conference Papers

Conference Papers

“The Design of Collective Play,” Mediatic Networks in Postwar Paris: Art, Sound, and Film in Motion, An Interdisciplinary Symposium, New York University, March 2012 

“‘There really is no substitute for participation!’ The Techno-Geographies of GRAV,” College Art Association, 100th Annual Conference, Los Angeles, February 2012 

“On Line: Drawing as a Verb,” Brown Bag Lunch Lecture, The Museum of Modern Art, New York, December 2010 

“The Big Picture: Abstract Expressionism,” Brown Bag Lunch Lecture, The Museum of Modern Art, New York, March 2010 

“The Third-Best Dancer in Europe: Martin Kippenberger,” Brown Bag Lunch Lecture, The Museum of Modern Art, New York, April 2009 

“Art, Feminism and Identity Politics,” The Newark Museum, Newark, New Jersey, December 2008 

Moderator of the plenary session “Creating and Performing Community,” National Cityscapes Conference, Case Western Reserve University, Cleveland, Ohio, March, 2008 

Painting Lesson: Hantaï and His Critics,” College Art Association, 96th Annual Conference, Dallas, Texas, February 2008 

“What do Hungarian Women Artists Do?,” CEC Artslink, New York, 2006 June 

“Please Recycle! On Ágnes Eperjesi’s Family Album,” Exposed Memories: Family Pictures in Private and Public Memoryi, International Association of Art Critics / International Association of Word and Image Studies, Budapest, Hungary, November 2006 

“Wars from Within: A French Response to the Idea of American Painting,” College Art Association, 93rdAnnual Conference, Atlanta, Georgia, 2005 February 

“Soft Chairs & Hard Battles: The Social History of a Discipline,” Art History after the New Art History, School of Design and Applied Arts, Budapest, Hungary, November 2004 

"Cézanne, the Father: Constructing Modernist Criticism in Hungary," The State of the Art, Research Institute for Art History of the Hungarian Academy of Sciences, May 2000

Professional Affiliations

Professional Affiliations

ArtTable / New Leadership in the Arts, 2006

College Art Association, 2004

Association des historiens de l’art contemporain, 2001

International Association of Art Critics, 2000