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Bruce Robertson specializes in American art but he gets restless. He was educated at Swarthmore College and Yale University but is a New Zealander by birth; his dissertation was in eighteenth-century British watercolors and he is now concentrating on museum history. For a number of years he held a dual appointment with the Los Angeles County Museum of Art, as Chief Curator, Center for the Art of the Americas, and Deputy Director for Art Programs. While there he started the Latino and Latin American Art Initiative, and acquired Thomas Eakins' The Wrestlers (Eakins' last sporting painting), as well as works by Yun Gee, Helen Lundeberg, Abbott Thayer and William Rimmer. He is currently Acting Director of the Art, Design & Architecture Museum, UC Santa Barbara. Sargent and ItalyHis publications include: Sargent and Italy (Princeton, 2003); Ruth Harriet Louise and Hollywood Glamour Photography (with Robert Dance; UC Press, 2002); Twentieth Century American Art: The Ebsworth Collection (National Gallery of Art, 2000); Picturing Old New England: Image and Memory (contributor; Yale, 1999); Marguerite Makes a Book (Getty, 1999); Marsden Hartley (Abrams, 1995); Reckoning with Winslow Homer: His Late Paintings and their Influence (Indiana UP, 1990); Views and Visions: American Landscape before 1830 (in collaboration with Edward Nygren, 1987), which won the first Charles Eldredge Prize of the National Museum of American Art (now SAAM); and, The Art of Paul Sandby (Yale, 1985). Ruth Harriet LouiseHe has held fellowships at the Huntington Library, the Paul Mellon Centre in London, and the UC Humanities Research Institute, winning a Getty Collaborative Research Grant in 1996; he is co-director of the Microcosms Project, on the history of museums and universities, with Mark Meadow and Rosemary Joyce. He was also a vice-president of the College Art Association for four years, and currently serves on the editorial boards of Museums and Society, and Museum History; he was formerly on the boards of American Quarterly and the Smithsonian American Art Journal. He is Vice-Chair of the UC Press Editorial Committee. Recent projects include the exhibitions "American Stories: Paintings of Everyday Life 1765-1915," in collaboration with colleagues at the Metropolitan Museum of Art, and "O'Keeffe and Abstraction" (both opened in Fall 2009 and then traveled). He is also finishing a book, Placing Knowledge: The Museum and the University in the Nineteenth Century. This last year he pubished an essay on gay Berlin in the Marsden Hartley exhibition in Berlin and Los Angeles.