November 8, 2023: "Catalogues Raisonnés: How Do You Know What You Can Trust?" in session, "Changes in Catalogue Raisonné," at Appraisers Association National Conference, New York Athletic Club.
March 19, 2023: "The Experimental Impressionism of John Henry Twachtman," Worcester Art Museum, Massachusetts (Spotlight series).
February 17, 2023: "John Twachtman's Yellowstone Paintings (1895) and the Yellowstone National Park Protective Act (1894)," in session "The Art of Nation Building: An Examination of the Representation of the U.S. National Parks," College Art Association, 111th Annual Conference, New York.
February 17, 2023: co-chair (with Betty Krulik), "Significant Findings: Object- and Archives-Based Reassessments of U.S. Art (colonial–1945)," in Catalogue Raisonné Scholar's Association Affiliate Session, College Art Association, 111th Annual Conference, New York.
November 16, 2022: “Late Nineteenth-Century Allegorical Paintings by and for American Women, Starring: Edith Mitchill Prellwitz, Ella Condie Lamb, Louise King Cox, Mary Lizzie Macomber, and Ella Ferris Pell,” Initiatives in Art and Culture: Cut, Cast, Carved, and Coupled: Perspectives on Women in American Art–27th Annual American Art Conference, Cosmopolitan Club, New York.
November 15, 2022: “Twachtman and Monet: Impressionist Crosscurrents in the 1890s,” Greenwich Historical Society, Cos Cob, Connecticut.
June 8, 2022: “‘How that Country Looks to the Eye of a Modern Painter’: John Twachtman’s Paintings of Yellowstone Park (1895),” Conversations on Collecting Yellowstone Conference, Montana State University, Bozeman.
April 6, 2022: “Twachtman in Print and in the Cloud,” Atlanta Art Forum, Atlanta, Georgia.
February 17, 2022: “Nature as It Is: Eco-Complexities in American Impressionist Landscapes,” in session, “Unsticking the Sentimental: Critical Approaches to American Impressionism,” College Art Association, 110th Annual Conference (remote).
Jan. 24, 2018: “American Impressionism: A Manifestation of Cosmopolitanism and High Culture,” Appraiser’s Association, New York for the Asia Institute of Art and Finance.
Oct. 25, 2017: “Aspiring ‘So to Live’: Ideas and Ideals in Late Nineteenth-Century Allegorized Representations by American Women Artists (Louise King Cox, Ella Condie Lamb, Mary Macomber, Ella Pell, and Edith Prellwitz),” SECAC, Columbus, Ohio.
March 8–9, 2017: “American Impressionism,” American Art Society, Cincinnati (three-day seminar).
May 17, 2014: “Visible Progress: The Labor Sculpture of Niehaus, Beach, Young, and Kalish,” Initiatives in Art and Culture, The Graduate Center, The City University of New York.
Nov. 13, 2013: “From Context to Visual Culture to Globalization: The Continuing Journey of American Art Scholarship, 1970s to the Present,” Atlanta Art Forum.
August 25, 2012: “’Making Swiss Mountains Pay’ and What Edgar Payne Learned along the Way,” Edgar Payne Symposium, Pasadena Museum of California Art.
June 3, 2012: “Leave Your Safety Net Behind: The Art and European Travels of Edgar Payne,” Pasadena Museum of California Art.
October 7, 2010: “Art, Nature, and the American City: Dependence/Independence in American Landscape Paintings,” The Clay Center for the Arts and Sciences of West Virginia, Charleston.
December 6, 2008: “Gershon Benjamin and the Circle around Milton Avery in Gloucester in the Early 1930s,” Cape Ann Museum, Gloucester, Massachusetts.
October 24, 2008: “Milton Avery and His Circle of “Expressionist” Rebels in an Age of Regionalism,” Phoenix Art Museum.
March 6, 2008: “J. Alden Weir and John H. Twachtman: Parallels, Convergences, and Friendship,” Burlingame Memorial Lecture, Weir Farm Art Center, Wilton, Connecticut.
September 23, 2006: “John Twachtman: New Discoveries and an Exhibition in the Making,” Historical Society of the Town of Greenwich, Connecticut.
May 18, 2006: “Look and Look Again: The Art of a Painter’s Painter (John Twachtman),” Dahesh Museum, New York.
May 13, 2006: “’Scenery Fine Enough to Shock Any Mind’: John Twachtman’s Images of Niagara Falls and Yellowstone Park,” Art Initiative’s Conference: “What Lies Beyond: America’s Involvement with Frontier, Boundary, and Horizon,” held at Dahesh Museum, New York.
November 12, 2005: “In the Context of Tonalism: A Consideration of the Art of John Henry Twachtman,” Spanierman Gallery, LLC in association with New York University, “American Tonalism: A Symposium in New York.”
May 12, 2005: “‘Spiritualized Naturalism’: The Tonal-Impressionist Art of J. Alden Weir and John H. Twachtman,” New York University Appraisal Studies in Fine and Decorative Arts, Conference: Encounters with the Land: American Depictions from the Seventeenth Century to the Present.
March 21, 2003: “Three American Impressionists (Theodore Robinson, John Twachtman, Julian Alden Weir): A Fervor for the Art of Japan,” New York University, Appraisal Studies in Fine and Decorative Arts, Conference: Reflection and Reality: The Influence of Japan on American Arts, 1853-2003.
June 24, 2002: “Art and Life in Cornish: Three Ambitious Women Painters—Maria Oakey Dewing (1845-1927), Lucia Fairchild Fuller (1870-1924), and Edith Mitchill Prellwitz (1864-1944)–Their Choices, Compromises, and Achievements,” Cornish Gallery and Museum, New Hampshire.
October 26, 2000: “The Americanization of Impressionism: Optimism, Escapism, and the Celebration of Nature in the Post-Frontier Era,” Minneapolis Institute of Arts, Minnesota.
February 26, 2000: “John Twachtman and the High Museum Exhibition,” High Art Museum, Atlanta.
June 5, 1999: “John Twachtman and Cincinnati: Towards a New American Suburban Ideal,” Cincinnati Art Museum.
May 22, 1999: “Picturing American Suburban Ideals at the Turn of the Century,” Indianapolis Art Museum.
May 7, 1998: “John Henry Twachtman: ‘A Landscape of What is Called the More Modern Sort,’” New York University, Appraisal Studies, Modernism Symposium.
September 9, 1997: “On Home Grounds: American Impressionists and the American Suburban Ideal,” Florence Griswold Museum, Old Lyme, Connecticut.
April 5, 1997: “American Impressionist Views of the Home Grounds: The Evolution of an Exhibition,” Dickinson College, Carlisle, Pennsylvania.
April 28, 1996: “Idealization and Realism: A Compare-and-Contrast View of Art from the Collection of William I. Koch,” Wichita Art Museum.
November-January 1995: “William Merritt Chase: Master of American Impressionism,” Spanierman Gallery, New York. Gallery lectures for High Museum, Atlanta, Collector’s Group; Cincinnati Art Academy Group; and Lyme Art Academy, Connecticut.
March 5, 1994: “Floral Impressions: The Flower Garden in American Painting,” Swan Coach House Museum, Atlanta, Georgia.
February 10, 1994: “John Twachtman in Cos Cob and Greenwich, Connecticut, at the Turn of the Century,” Historical Society of the Town of Greenwich.
June 24, 1993: “John Twachtman’s Impressionist Paintings of Greenwich, Connecticut: The Frontier within the Terrain of the Familiar,” Seattle Art Museum.
April 15, 1993: “John Twachtman, Impressionism in Connecticut, and the American Suburban Ideal,” Los Angeles County Museum of Art, American Art Council.
November 12, 1992: “The Frontier within the Terrain of the Familiar: John Twachtman’s Paintings of Greenwich, Connecticut, in the Context of American Art and Culture in the Late Nineteenth Century,” Wichita Art Museum, Kansas, Lecture Series, 1992-93.
June 28, 1992: “Images of a Country Well-Beloved: John Twachtman’s Paintings and Pastels of Branchville and Greenwich, Connecticut,” Weir Farm Heritage Trust, Branchville, Connecticut.
November 17, 1989: “Twachtman: A ‘Modern’ in Venice,” Fordham University Symposium: Insight and Inspiration II: The Italian Presence in American Art: 1860-1920.
October 13, 1986: “Images of the Homeless and the Shanty Town in American Art,” Museum of the City of New York Symposium, Perspectives on Being Homeless in America.