Erina Duganne is Associate Professor of Art History in the School of Art and Design at Texas State University and a member of Borderland Collective. She teaches courses in American art, photography, and visual culture. Duganne is the author of The Self in Black and White: Race and Subjectivity in Postwar American Photography (University Press of New England, 2010), an examination of the historically specific ways in which the self has been experienced, conceptualized, and reflected in relation to photographic representations of blackness in postwar America. She also served as a co-curator, a co-editor, and an essayist for the exhibition and accompanying publication, Beautiful Suffering: Photography and the Traffic in Pain (University of Chicago Press, 2007). She worked on this project as a Mellon Post-Doctoral Fellow in the History of Photography at Williams College. She is currently working on two book-length projects. The first, entitled Building Global Solidarity with Central America: Art, Social Change, and the Global Cold War, takes up the difficult question of what contribution art, most especially photography, has made to social change through an examination of its function within inter-American solidarity raising activities that were initiated in the early to mid 1980s in response to U.S. interventionist policies in Central America. Part of this research was recently featured in the 2014 exhibition Northern Triangle that she co-organized with Borderland Collective members Jason Reed and Mark Menjivar at Blue Star Contemporary Art Museum in San Antonio, TX, in response to the recent Central American refugee crisis along the U.S./Mexico border. The second project, which she is co-authoring with Terri Weissman, is a textbook entitled Global Photography: A Critical History, forthcoming from Bloomsbury Publishing. Duganne’s writings have also appeared in Photography & Culture, The Mirror of Race, English Language Notes, History of Photography, and Visual Resources, as well as in such anthologies as Getting the Picture: The History and Visual Culture of the News (Bloomsbury, 2015), Visual Research Methods: Image, Society, and Representation (Sage, 2007), and New Thoughts on the Black Arts Movement (Rutgers University Press, 2006). For further information about Erina Duganne’s work, click here.
Kathryn Blair Moore is an Assistant Professor in the School of Art and Design. She received her B.A. from the University of Virginia in 2003 and her M.A. and PhD. from the Institute of Fine Arts, New York University, in 2011. Her research spans the medieval and Renaissance periods in Europe and the Mediterranean region, with a particular focus on the visual culture of pilgrimage to Jerusalem and related cross-cultural exchange between Christian and Islamic cultures. Fellowships from the Kress Foundation, the American Academy in Rome, and the American Council of Learned Societies have supported her research. Prior to coming to Texas State University, she taught at the University of Hong Kong, the University of California, Berkeley, and the University of Pittsburgh. She teaches courses on Italian Renaissance art, Islamic art, European architectural history, and specialized seminars on Renaissance art theory and representations of Jerusalem in medieval and Renaissance art. She has published her research in Renaissance Quarterly, Muqarnas, Renaissance Studies, and Word & Image, and essays on “Shared Sacred Spaces in the Holy Land” and “The Dome of the Rock through the Centuries” are forthcoming in The Cambridge World History of Religious Architecture. Currently, she is finishing a book, The Architecture of the Christian Holy Land: Reception from Late Antiquity through the Renaissance, which will be published by Cambridge University Press.
Jennifer Stob is an Assistant Professor of Art History in the School of Art and Design. She received her B.A. from Grinnell College in 2000 and her M.A. and joint Ph.D. degree from the Department of the History of Art and the Film Studies Program at Yale University in 2010. Her research interests lie at the intersection of contemporary art, experimental cinema and artists’ video. She teaches courses on art after 1945, time-based media, the history of cinema from within the visual arts, avant-garde collectivity and aesthetic theory. In the classroom and in her scholarship, she focuses on the ideological contexts of art and visual culture as well as the different ways that art depicts and engages with social space. Her work has been published in Criticism, Evental Aesthetics, French Studies, Moving Image Review and Art Journal (MIRAJ), Parallax and Studies in French Cinema. Her film programing is a vital supplement to her research and teaching. The screenings she organized for The Black and Blue Danube Symposium at Colgate University in 2013 yielded two essays for anthologies: one for European Cinema After the Wall: Screening East-West Mobility on transnational filmmaker Goran Rebić and the second forthcoming in Watersheds: Poetics and Politics of the Danube River on experimental film and video artist Péter Forgács. She is finishing a manuscript on film theory and the Situationist International and has begun a second project on the Austria Filmmaker’s Cooperative. For more information on Stob’s projects, click here.
Gina McDaniel Tarver is Associate Professor of Art History specializing in modern and contemporary Latin American art and visual culture. She teaches courses in modern, Latin American, Spanish Colonial, and Pre-Columbian art; art and politics; and art history methodologies. Her research interests include the relationship between art and its institutions, issues of gender and representation, and decolonial theory. Her book, The New Iconoclasts: From Art of a New Reality to Conceptual Art in Colombia, 1961–1975 (Bogotá: Ediciones Universidad de los Andes, 2016), traces the symbiotic yet paradoxical relationship between a small and successful group of iconoclasts in Colombia and the art institutions that supported them. It focuses on artists who sought to break with artistic conventions in order to address a local audience in ways that resonated within their immediate social context, at a time when institutions sought to internationalize the art scene as part of a push for national development. Tarver proposes her book as a specific case study of the intricacies of cultural change in a period of globalization. Tarver’s peer-reviewed articles have appeared in the international journals Third Text (London), Artelogie (Paris), and The International Journal of the Inclusive Museum (United States), and she has presented papers at various conferences and symposia in the United States, Colombia, Portugal, Spain, and the United Kingdom. In 2015, she curated En Medellín todo está muy Caro, a retrospective of the Colombian conceptual artist Antonio Caro, for the Museo de Arte Moderno de Medellín. She is the author of numerous essays and entries for exhibition catalogs and was co-editor of The New York Graphic Workshop, 1964–1970 (Blanton Museum of Art, 2009). For more information on Tarver's projects, click here.
Alan Pizer is a Senior Lecturer of Art History. He received his Doctorate in the Humanities at the University of Texas at Dallas. He received an M.A. in Art History at the University of Texas at Austin and a B.A. in Art History at the University of Wisconsin–Madison. Dr. Pizer’s current research includes a re-examination of the selection and adaptation of French Revolutionary symbols and allegory. This research bridges his interest in the diversity of Hellenistic forms with its creative re-appropriation in the context of Revolutionary political culture. Dr. Pizer taught Art History in the Florence Study Abroad Program for four years (Summer 2010–2012, 2015) and served as the Study Abroad Program Director for three years. He teaches courses on ancient Hellenistic art and architecture, Renaissance art and architecture, eighteenth-century art and politics, and Asian art and culture. He also teaches survey courses such as Ancient to Medieval Art and Renaissance to Modern Art and the General Studies course Introduction to the Fine Arts. As the former Correspondence Studies instructor-grader for Introduction to the Fine Arts, he wrote the course study guide lesson plan and chapter summaries.
Shannon Faseler earned a Bachelors of Fine Arts from the University of Texas at Austin by following her life long passion for studying and producing art. A Masters of Fine Arts from the School of The Art Institute of Chicago followed shortly after. It was during graduate school, as a teaching assistant, that a love of teaching developed. After graduation, and a move to the more temperate climate of the west coast, Faseler accepted teaching positions in both studio and art history departments at several Orange County colleges. In addition to teaching, Faseler was appointed Gallery Director at Irvine Valley College. Recently, she has returned home to Texas and is currently establishing her studio practice while teaching at Texas State University. She continues to exhibit her personal work both locally and nationally. You can read Faseler's full CV here.
Estéban Hinojosa is an alumnus of both Design and Art History programs at the University of Texas at Austin. He has lectured multiple semesters on Italian Art History and Culture at Southwestern University in Georgetown. An Adjunct Professor of Art History at Austin Community College, he regularly teaches Art Historical Surveys I & II, as well as Introduction to Visual Arts. As a Graphic Designer and Publications Assistant at UT’s Institute of Classical Archaeology, he contributed to several books on excavations in southern Italy and the Black Sea. He has just completed a year-long sabbatical in Turkey, visiting archaeological sites and museums alongside his wife, a PhD candidate at the University of Texas.