Erina Duganne is an Associate Professor of Art History. 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. Her current book project, tentatively entitled Central America as “Living” History: Photography and Social Change at the End of the Cold War takes up the difficult question of what contribution photography has made to social change through an examination of images documenting events from the Central American civil wars—El Salvador and Nicaragua, more specifically—that circulated in the United States in the 1980s. Rather than measure the influence of these photographs in terms of narrowly conceived causal relationships concerning issues of policy, she argues that to understand what these images did and did not achieve, they need to be situated in terms of their broader social, political, and cultural effects that varied according to the ever shifting relations of their ongoing reproduction and reception. These include their circulation and recirculation across a diverse group of platforms—the news media, the art world, the U.S. government, protest and humanitarian organizations, among others—both in the 1980s and thereafter. Duganne received a Marlene Nathan Meyerson Photography Fellowship from the Harry Ransom Center in support of this project. Duganne has published essays, interviews, and reviews in Photography & Culture, English Language Notes, exposure, Mirror of Race, AHAA.reviews, caa.reviews, African American Review, Visual Resources, and Grove Art Online. In 2009–2010, she was awarded a Fulbright Junior Lectureship at the University of Potsdam where she taught courses on American art, photography, and popular culture. For further information about Erina Duganne's work, click here.
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 Tarver is Assistant Professor of Art History. She received her Ph.D. in Art History at The University of Texas at Austin, her M.A. in Art History at University of New Mexico, and her B.A. in Art History at Trinity University. She specializes in modern and contemporary Latin American art and visual culture. She teaches courses in modern art, Latin American art, Pre-Columbian art, art and politics, conceptualism, and art history methodologies. Her research interests include the relationship between art and politics, gender issues, and post-colonial and post-development theories. Her soon-to-be-published book, From Art of a New Reality to Conceptual Art in Colombia, 1961–1975 (forthcoming, Ediciones Uniandes), traces the symbiotic yet paradoxical relationship between a small and successful group of artists in Colombia, who sought to break with conventional traditions in order to address a local audience in ways that resonated within their immediate social context, and the art institutions who supported them, who sought to internationalize the art scene as part of a push for national development. She proposes her book as a specific case study of the intricacies of cultural development in a period of globalization. Peer-reviewed articles by Professor Tarver appear 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, and Spain. She is the author of numerous essays and entries for exhibition catalogs and was co-editor of the exhibition catalog The New York Graphic Workshop, 1964–1970 (Blanton Museum of Art, 2009). Professor Tarver received a Research Enhancement Program grant from Texas State University in 2011. 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 three years (Summer 2010–2012) and served as the Abroad Program Director for two years, a post which he currently holds again. He teaches courses on ancient Hellenistic, Renaissance, as well as Asian art and culture. He also teaches survey courses such as Ancient to Medieval and Renaissance to Modern 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.
Following her life long passion for studying and producing art, Shannon Faseler earned a Bachelors of Fine Arts from the University of Texas at Austin. 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.