Area Coordinator, Art History
PhD, The University of Texas at Austin
Erina Duganne is Associate Professor and Area Coordinator of Art History. She is also a member of Borderland Collective. Duganne teaches courses in the history of photography, American art, and art criticism and writing. She is the author of The Self in Black and White: Race and Subjectivity in Postwar American Photography (University Press of New England, 2010) and a co-editor of 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. Duganne’s research has focused on three interrelated aspects: art and visual culture of the post-World War II period, transnational art and activism since the 1980s, and race and its representation. She is presently at work on a monograph titled Visual Solidarities: Inter-American Art and Activism at the End of the Global Cold War that turns to the 1984 ad hoc organization Artists Call Against U.S. Intervention in Central America to explore transnational visual practices, or what she calls visual solidarities. In addition, her essay, "The Nicaragua Media Project and the Limits of Postmodernism" appears in the March 2018 issue of The Art Bulletin and, in September 2017, she co-edited with Heather Diack a special issue of the journal Photographies titled “Beyond the Pictures Generation” that reassesses critical models for 1980s photography by addressing international human rights conflicts for which Cold War realities were paramount and art world ambivalence was not a viable option. 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 Crossroads in American Studies: Transnational and Biocultural Encounters (Winter, 2016), 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.
Visiting Assistant Professor
PhD, Binghamton University, State University of New York
Deniz Karakas is an art historian of the early modern Middle East with a focus on the architectural and urban cultures of the Ottoman Empire. She is particularly interested in the complex relationship between spatiality and social relations involved in the making and experiencing of hydraulic resources in the early modern world. Her dissertation “Clay Pipes, Marble Surfaces: The Topographies of Water Supply in Late Seventeenth- and Early Eighteenth-Century Ottoman Istanbul” explores how the Ottomans visualized their environmental anxieties around water extraction shaped by economy and aesthetics in their capital city, Istanbul. A chapter is published in the edited collection Istanbul and Water (Peeters–Leuven, 2015), and she is currently preparing her dissertation for publication. Prior to coming to Texas State University, she held a postdoctoral position at Sabanci University (Istanbul, Turkey) and taught at Middlebury College, the University of Pittsburgh, Oberlin College, and Ithaca College. In addition to a PhD, she also holds a professional undergraduate degree in architecture.
Kathryn Blair Moore
Academic Program Director, Study Abroad Florence, Italy
PhD, New York University
Kathryn Blair Moore received her BA from the University of Virginia and her MA and PhD from the Institute of Fine Arts, New York University. Her research spans the medieval and Renaissance periods in Europe and the Mediterranean region, with a particular focus on cross-cultural exchange between Christian and Islamic cultures. Fellowships from the Kress Foundation, the American Academy in Rome, the American Council of Learned Societies, the Renaissance Society of America, and the Newberry Library 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, and European architectural history. 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. Her book, The Architecture of the Christian Holy Land: Reception from Late Antiquity through the Renaissance (Cambridge University Press, 2018) won the 2018 PROSE Award for Art History and Criticism. For further information about her work, click here.
PhD, Yale University
Jennifer Stob is an Assistant Professor of Art History in the School of Art and Design. She received her BA from Grinnell College in 2000 and her MA and joint PhD 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
PhD, University of Texas at Austin
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. The research for 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), was supported by a Fulbright grant. 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). With Michele Greet, Tarver co-edited the anthology Art Museums of Latin America: Structuring Representation (Routledge, 2018). She is currently researching and writing about eco-critical art in Colombia. For more information on Tarver's projects, click here.
MFA, School of the Art Institute of Chicago
Shanon Faseler earned a BFA from the University of Texas at Austin by following her life long passion for studying and producing art. An MFA 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.
MA, University of Texas at Austin
Estéban Hinojosa is is the recipient of the 2016–2017 Part Time Faculty Excellence in Teaching Award, granted by the Faculty Senate of Texas State University. He is an alumnus of both the design and art history programs of the University of Texas at Austin. He taught Italian Art History and Culture for multiple semesters 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. A frequent traveler and avid photographer, his lectures are peppered with his own pictures documenting the buildings, sculptures and images of the art historical canon.