Ann Reynolds is an Associate Professor in the Department of Art and Art History and the Center for Women’s and Gender Studies at the University of Texas at Austin. In her research and teaching, she focuses on twentieth and twenty-first century art and visual culture in the United States and Europe with a focus on the theory and practice of archival research. She is currently working on a book entitled Imagining an Altogether: Cinema, Surrealism, and New York 1940–1970, a history of intergenerational relationships among New York artists, writers and filmmakers circa 1940–1970 that were shaped by shared, if heterogeneous, commitments to Surrealism and its legacy, primarily through an engagement with film. She and her co-curator, Michael Duncan, are also developing an exhibition focused on the magazine View (1940–1947). Some of her more recent publications include an essay entitled “No Strangers” for the exhibition catalogue The Young and Evil: Queer Modernism in New York, 1930–1955 (David Zwirner Gallery 2019); essays on Beverly Grant for the exhibition Sixties Surreal at the Whitney Museum of American Art (2024); Ruth Asawa for the exhibition In a Cloud, in a Wall, in a Chair: Modernists in Mexico at Midcentury at the Art Institute of Chicago (2019); Joan Jonas for the Fundación Botín (2016) and for the 2015 Venice Biennale; the experience of remoteness in relation to land art (Centre Georges Pompidou 2018); Bob Fleischner, Jack Smith, and Ken Jacobs’ film Blonde Cobra (Criticism Spring 2014); Zoe Leonard’s Dia Beacon installation So you see I am here after all (Dia Art Foundation and Yale University Press, 2010); a co-edited anthology entitled Political Emotions (Routledge Press, 2010); and an essay on feminist exhibitions and publics circa 1970 for Witness to her Art (Bard Center for Curatorial Studies and D.A.P. Press, 2006). She is the author of Robert Smithson: Learning From New Jersey and Elsewhere (MIT Press, 2003), which was translated into French in 2014. She has received residency fellowships from the Institute for Advanced Study, Princeton, NJ (2021-2022); the National Humanities Center, NC (2017–2018); and the Clark Art Institute (2006). She has been the recipient of five teaching awards including the College of Fine Arts Distinguished Teaching Award in 2006.

She is not taking PhD students for the 2024-2025 academic year.