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.
MFA, School of the Art Institute of Chicago
Shannon 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.
PhD, Université Paris Nanterre
Claire Hendren received her M.A. in Art Museum Studies from Georgetown University and her Ph.D. from Université Paris Nanterre in 2019. She has also worked as a lecturer at the Institut Catholique de Paris and as an assistant to the directors of the NEH Summer Institute Museums: Humanities in the Public Sphere at Georgetown University.
MA, The University of Texas at Austin
Estéban Hinojosa 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, Texas. He has taught Ancient Art at St. Edward's University and Art appreciation at Austin Community College. 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. His lectures are peppered with his own pictures documenting the buildings, sculptures, and images of the art historical canon, and each semester he leads field trips to museums in Houston, San Antonio, Fort Worth, and Austin. He was the recipient of the 2016–2017 Part Time Faculty Excellence in Teaching Award, granted by the Faculty Senate of Texas State University.
PhD, University of Michigan,
A design historian of the modern and contemporary periods, Jeffrey Lieber received his BA from Vassar College and his MA and PhD from the University of Michigan, Ann Arbor. His research addresses issues of visual representation and materiality as they relate to buildings, objects, and images. His first book, Flintstone Modernism and the Crisis in Postwar American Culture (MIT Press, 2018), explores how corporate architecture and the graphic arts (advertisements, magazines) became both harbingers and vehicles of changing democratic ideals and quixotic national fantasies about antiquity, beauty, and freedom as the United States solidified its role on the world stage in the 1950s and 1960s. By showing how architecture and design became entangled in troublesome discourses about mass culture and camp aesthetics, he reveals surprising hidden meanings in iconic works by such figures as Gordon Bunshaft, Marcel Breuer, Philip Johnson, and Louis Kahn. His second book, under contract with Oxford University Press, further expands on these topics by exploring themes of humanism, spirituality, and technology in studio-era Hollywood films, incorporating analysis of class, gender, and sexuality, particularly as they relate to design and decoration. A new project, and the subject of his recent talks at conferences, focuses on the critic Sibyl Moholy-Nagy and brings to the fore the ambitions of a young generation of designers in the 1960s struggling to break free from European ideologies to join modern forms with new ethical and environmental ideals. Lieber teaches surveys of design history and seminars in both art and design history and theory from the eighteenth-century to the present. Prior to coming to Texas State, he taught at Harvard University, the University of California, Santa Cruz, and The New School in New York.
PhD, Yale University
Art historian Jennifer Stob 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, The University of Texas at Austin
Gina McDaniel Tarver specializes in the history of modern and contemporary Latin American art and visual culture with a particular interest in the relationship between art and its institutions, issues of gender and representation, and decolonial theory. She teaches courses in modern and contemporary as well as Spanish Colonial and Pre-Columbian art history and methodologies. The research for her book, The New Iconoclasts: From Art of a New Reality to Conceptual Art in Colombia, 1961–1975 (Ediciones Universidad de los Andes, 2016), was supported by a Fulbright grant. With Michele Greet, Tarver co-edited the anthology Art Museums of Latin America: Structuring Representation (Routledge, 2018). 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 Chile, Colombia, Portugal, Spain, the United Kingdom, and the United States. 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). Her current research and writing is about eco-critical art in Colombia. For more information on Tarver's projects, click here.