Art History

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Graduate Students

Adrian Ogas

Adrian Ogas is a first-year MA student in the Art History department at Southern Methodist University. He graduated from The University of Texas at El Paso with a BFA in Studio Art with a focus in Graphic Design and a minor in Art History. After graduating from UTEP, Adrian was a curatorial intern at The El Paso Museum of Art where he assisted with exhibitions and museum events. His environmental design work (exhibition titles, didactic text, wall panels, etc.) can be found in the recent re-installation of the Kress Collection of European Art that he collaborated on alongside with EPMA staff. His research at SMU will focus on Chicanx art, Latinx art, as well as modern and contemporary art.

Alexandra Perez

Alexandra Perez is a second-year M.A. student in the Art History program at SMU. She received her B.A. in Art History with a minor in Studio Art, concentrating in photography, from the University of Florida. At UF, she held internships at the Harn Museum of Art within the Curatorial and Education departments, and since has worked as a tour guide for Art Basel Miami Beach and as an intern at the Rubell Family Collection in Miami. Her interests lie in contemporary art of the Americas broadly, especially focusing on Latin American female artists who engage with questions of gender, identity and the body, and political activism.

Alice Heeren

aheerensabat@mail.smu.edu

Alice Heeren is a PhD student in the RASC/a: Rhetorics of Art, Space and Culture program. She received a BA in Art Education and a BFA in Printmaking from the Universidade Federal de Minas Gerais - Brazil during which time she worked at LACICOR, the university’s Laboratory of Conservation Science. In 2011, she received a MA in Art History, Theory and Criticism from the School of the Art Institute of Chicago with a thesis entitled "The Inhotim Cultural Institute: the museum in the Neodevelopmentalist era." She spent time as a curatorial intern at the Museum of Modern Art in NY (MoMA) and was an editor for the Routledge Encyclopedia of Modernism. Alice has published articles and reviews in Arte Al Día, Artelogie, Artefacto Visual, Art Research Journal, and RE BUS. She has presented her work in academic institutions and museums including the Latin American Studies Association, the Associação Nacional de Pesquisadores em Artes Plásticas, and the Association of Art Historians. She has received numerous travel grants from SMU, the University of Illinois at Urbana-Champaign and the School of the Art Institute of Chicago including a Dedman College Dean’s Grant, a Lehman Institute for Brazilian Studies and an Initiative in Holocaust, Genocide, and Memory Studies travel grants. In 2014, she received the Maguire and Irby Family Foundation Public Service Fellowship from the Cary M. Maguire Center for Ethics and Public Responsibility at SMU to pursue research in Italy on the rhetoric of space in its ethical and affective dimensions in the city of Rome under Benito Mussolini. Her research focuses on Modern and Contemporary Brazilian Art and Architecture with emphasis in media theory, ethics, memory studies and affect theory. She is currently working on a dissertation that examines how the semantic, semiotic and affective experiences of space and place shaped the body politics and the ideal of the nation in twentieth century Brazil.

April Riddle

April Riddle is a first-year M.A. student in the Department of Art History at Southern Methodist University. She received her B.A. in the history of art and visual culture from The University of California, Santa Cruz in 2016. As an undergraduate, she served as a community programs intern at the Santa Cruz Museum of Art and History, organized student and local artist shows at UCSC’s Eloise Pickard Smith Gallery, and created structural jewelry out of wood and spray paint. Prior to attending SMU, April lived in Austin where she worked as an editor and academic consultant for an education firm. Her research interests include net and digital art, web-based art communities, and protest aesthetics.

Asiel Sepulveda

Asiel Sepúlveda is a doctoral candidate in the Rhetorics of Art, Space and Culture: Ph.D. Program in Art History. Sepúlveda’s research examines the circulation, perception and use of printed images in the nineteenth-century Caribbean and the Atlantic World. His research has appeared in Nineteenth-Century Art Worldwide (2015), and Athanor (2016). His scholarship on tobacco and public life in Havana ( “Humor and Social Hygiene in Havana’s Nineteenth-Century Cigarette Marquillas” ) was awarded the Dahesh Museum of Art Prize Best Paper at the 12th Annual Graduate Student Symposium in Nineteenth-Century Art (2015). Sepúlveda is currently pursuing a dissertation project titled “City Impressions: Modernity and the Mobile Image in Nineteenth-Century Havana,” for which he has received fellowship support from the Cuban Heritage Collection, The John Carter Brown Library, and the American Antiquarian Society. Sepúlveda’s academic formation has included hands-on printmaking workshops at the Rhode Island School of Design and the Burning Bones Press in Houston Texas, as well as completion of the Smithsonian Latino Museum Studies Program, where he developed a pilot project that presented LatinX stories using 3D digitization technology.

Arvin Maghsoudlou

Arvin Maghsoudlou is a second-year PhD student in the RASC/a (Rhetorics of Art, Space and Culture) Program in Art History at Southern Methodist University. Arvin received his BS from University of Tehran and his MA in Archaeology from University of Mazandaran. His research interests lie in the art of the Ancient and Late Antique Near East, specifically the art of the Persian World during the Sasanian era, with an emphasis on the interactions between religion, politics and art. Arvin`s interests also extend to the Medieval Islamic art of the Near East.

Claire Haley Cho

Claire Haley Cho is a second-year Masters student in the Department of Art History at SMU. She graduated in 2014 from the University of Southern California where she received her B.A. in both Art History and Fine Arts. While at USC, she studied abroad in Florence, Italy where she interned for the fototeca at Villa I Tatti: The Harvard University Research Center for Italian Renaissance Studies. She graduated with departmental honors upon completing a Senior Honors Thesis titled “Old Testament Typology in the Stammheim Missal.” In her studio practice, she works mainly in oil painting, printmaking, and ceramics. Her current research interests are in medieval art, especially in its intersection with contemporaneous Christian theology and doctrine. Her M.A. thesis will examine the development of Marian iconography in the twelfth-century, focusing on her changing visualization in monumental sculpture in French church portals.

Claudia Zapata

Claudia Zapata is a doctoral candidate in Southern Methodist University’s RASC/a: Rhetorics of Art, Space and Culture: Ph.D. Program in Art History. She received her B.A. and M.A. from University of Texas in Art History, specializing in Classic Maya art. Her research interests include curatorial methodologies of identity-based exhibitions, Texas Neo-Chicanoism, exhibition design, people of color zines, and designer toys. From 2010 to 2014 she served as the Curator of Exhibitions and Programs at the Mexic-Arte Museum in Austin, Texas. Zapata has curated over 30 exhibitions at the Mexic-Arte Museum and other Texas institutions, including A Viva Voz: Carmen Lomas Garza (2010), Sam Coronado: A Retrospective (2011), Death to Dollars: The Commercialization of Day of the Dead (2011), and Fantastic & Grotesque: José Clemente Orozco in Print (2014). Her recent projects include co-founding the Latinx art collective, Puro Chingón Collective in 2012. Within this experimental arts group, she develops art zines, prints, apparel, design, and art toys. Claudia has published articles in Panhandle-Plains Historical Review and the Aztlán: A Journal of Chicano Studies. She is currently pursuing her dissertation project, “Chicano Art is Not Dead: Politics on Display within Major U.S. Exhibitions.” From 2018-2019 Claudia will be the curatorial assistant at the Smithsonian American Art Collection in support of the exhibition ¡Printing the Revolution! Chicano Graphics from the Civil Rights Era to the Present. For contact and further information please see her website.

Danya Epstein

Danya Epstein is a third-year PhD student at SMU in the RASC/a: Rhetorics of Art, Space and Culture Program in Art History. She received her AB in French from Princeton University and her MA in Art History from Arizona State University, where she wrote her MA thesis on anatomical distortions in the work of JAD Ingres. A former naturopathic physician, Danya now brings her medical eye to the study of 18th and 19th century French art, with a special interest in art and science, in addition to a new focus on Franco-American relations in art.

Danielle Ezor

Danielle is a doctoral student in the Rhetorics of Art Space and Culture: PhD Program in Art History. She received her BA in Art History and Studio Art from Wellesley College and her MA in Art History from the Williams Graduate Program in the History of Art. At Williams, Danielle worked in the Print Study Room at the Clark Art Institute and presented her masters qualifying paper titled "Women's Work: Jean Siméon Chardin's Kitchen Maids." She has also spent time as a research intern in the Art of Europe Department at the Museum of Fine Arts, Boston. Her research focuses on eighteenth-century French visual and material culture with a concentration in race, gender, and materiality. Other interests include printmaking, the art of the book, and queer theory.

Jean Marie Christensen

Jean Marie Christensen is a doctoral student in the Rhetorics of Art, Space and Culture program. She received her B.A., Summa Cum Laude, in History with a minor in Art History in 2015 from Oklahoma State University and in 2017 obtained her M.A. in History from The University of Tulsa. Her Masters thesis, “Anne Stuart and the Complications of Female Rule: Gender and the Succession in Post-Restoration England, 1685-1702,” explored how Anne Stuart, daughter of James II, exercised a public persona through court ceremony and portraiture that presented her as a proper daughter, wife, and mother thus allowing her to cultivate political authority and legitimacy at the English court. While at SMU, she hopes to continue examining the intersection between art history and history through the prism of early modern queenship, court culture, historical memory, and the authority and identity found in monarchial and aristocratic representations and portraiture.

Jennifer Smart

jlsmart@mail.smu.edu

Jennifer Smart is a first-year Masters student in the Department of Art History at SMU. She graduated in 2011 from SMU. Prior to entering the Masters program Jennifer worked in the nonprofit and media worlds while writing regular reviews and features on art, theatre, and music for various arts and general interest publications. Her research will focus on modern and contemporary art and film of post-WWII Europe and the US. Interests include intertextuality in visual art and film, the growth of interdisciplinary art and artists in the second half of the 20th century, and the evolving role of the artist and critic in western society with additional interest in the philosophy of art and aesthetics.

Kelsey Rozema

Kelsey Rozema is a first-year doctoral student in the RASC/a: Rhetorics of Art, Space and Culture Ph.D. Program in Art History. She received her masters in art history from the University of Wisconsin Milwaukee. She is interested in the displays of both agency and oppression in eighteenth-century Spanish portraiture.

Lauren Richman

Lauren Richman is a doctoral candidate focusing on modern and contemporary art, photography, and film of post-WWII Europe and the United States. Her dissertation, “The Mediating Lens: Reprocessing American Culture in Early Cold War-Divided Berlin,” examines the U.S. government's visual framing of democracy, capitalism, and mass consumerism as entangled with the complex, post-war renegotiation of German cultural and national identity. Other research interests include images of conflict and documentary practice, the intersections between art and visual mass culture, and the aesthetics of surveillance. Richman received her B.A. in Art History from Vanderbilt University and her M.A. in the same subject from SMU. She has held residencies at London’s Courtauld Institute of Art, Berlin’s Freie and Humboldt Universities, and most recently, the Terra Foundation for American Art Predoctoral Fellowship at the Smithsonian American Art Museum. Richman has contributed to Art Journal, as well as publications produced by the Dallas Museum of Art, Stedelijk Museum, and the Centre Georges Pompidou.

Xena Fitzgerald

Xena Fitzgerald is a first-year M.A. student of art history at SMU. She received her bachelor’s degree in art history from Grinnell College. As an undergraduate, she spent a semester studying art history in Florence, Italy. At Grinnell, Xena also served on the art history department student committee for three years and worked in the Archives and Special Collections of the College. Her interests surround the circulation of manuscripts, rare books, and early print media between Early Modern Spain and Latin America. At SMU, Xena will be working at the Bridwell Library Special Collections.

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