My research concerns postwar to contemporary art, particularly as it pertains to changes in the way we experience the world, in part due to the reproducibility of images. This leads to interesting problems. How, for example, can artists represent a unique worldview or reflect on the current condition if experience is shaped by technology and inflected by ideology? Despite this conundrum I argue that attention to everyday life allows artists to experiment with form, as well as with thinking and patterns of living, and it is such experiments that draw my interest.
Before entering the academy I was a practicing artist and professional photographer. As such, I was fortunate to work with many talented individuals—such as Richard Barnes, who sparked my interest in archives, evidence, and memory. Simultaneously, I earned a MA in Inter-Arts from San Francisco State University—studying with the late performance artist Christine Tamblyn, theorist Kaja Silverman (at UC Berkeley), and filmmaker Trinh T. Minh-ha—and then a PhD in Visual and Cultural Studies from the University of Rochester. My dissertation was a phenomenological examination of the way the Fluxus artists worked with photography, advised by Professors Michael Ann Holly and Douglas Crimp. Since then, grants and fellowships from the Camargo, the Clark Art Institute, the Centre Allemand d’histoire de l’art, the National Humanities Center, and San José State University have helped me to continue my research.
While I am primarily a scholar, I continue to make artwork and engage in research-oriented curatorial projects. Recently, I served as lead curator to the reinstallation of Bruce Nauman's 1970 San Jose Installation, which culminated in Bruce Nauman: Spatial Encounters, published by University of California Press. Currently, I am completing a manuscript on the diorama—a pre-cinematic light and paint entertainment that emerged in nineteenth-century Paris. Invented by Daguerre and Bouton, the diorama died out after a short but active lifespan. However, in my account, the diorama persists in alternative forms, and consequently serves as a sentimental and backward-looking impulse in modern and contemporary art. My interview with installation artist Dan Graham on this topic is forthcoming in a special-issue of Culture et Musées devoted to the diorama.
I am Associate Professor of Art History and Visual Culture at San José State University. I am actively involved in the Art History graduate program while regularly teaching graduate seminars for MFA. students and sitting on MA and MFA committees. I have taught graduate seminars on a range of topics including the archive, contemporary craft, photography and perception, spectacle, and art historical methods. My undergraduate courses include the history and theory of new media, introduction to visual culture, the art of the 1960s and 70s, and issues of materiality in contemporary art (called "The Thing").
I can be contacted at email@example.com.