CHERISE SMITH Chair, African and African Diaspora Studies … · 2020-01-16 · Cherise Smith CV, Page 1 of 20 1/15/20 CHERISE SMITH Chair, African and African Diaspora Studies Associate

Cherise Smith CV, Page 1 of 20

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CHERISE SMITH Chair, African and African Diaspora Studies

Associate Professor, African & African Diaspora Studies and Art History Curriculum Vitae

The University of Texas at Austin 210 W. 24th Street, Stop E3400 Austin, TX 78712 [email protected] EDUCATION Ph.D., Art History, Stanford University, Stanford, CA 2005 M.A., Art History, University of Arizona, Tucson, AZ 1997 B.A., Art History, University of Arizona, Tucson, AZ 1991 ACADEMIC APPOINTMENTS Chair, Department of African and African Diaspora Studies, College of Liberal Arts, The University of Texas at Austin 2018-present (Founding) Executive Director, Art Galleries at Black Studies, College of Liberal Arts, The University of Texas at Austin 2014-present Associate Professor, Department of African and African Diaspora Studies, College of Liberal Arts, The University of Texas at Austin 2012-present Director, John L. Warfield Center for African and African American Studies, College of Liberal Arts, The University of Texas at Austin 2013-2017 Associate Director, John Warfield Center for African & African American Studies, College of Liberal Arts, University of Texas at Austin, 2012-2013 Faculty Affiliate, Warfield Center for African and African American Studies , College of Liberal Arts 2005-present Associate Professor, Department of Art and Art History, College of Fine Arts, The University of Texas at Austin 2011-2015 Assistant Professor, Department of Art and Art History, College of Fine Arts, The University of Texas at Austin 2005-2011


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PUBLICATIONS Books

1) Smith, C. (2019). Michael Ray Charles: A Retrospective. Austin, TX: University of Texas Press. 300 pp.

Smith, C. (2011). Enacting Others: Politics of Identity in Eleanor Antin, Nikki S. Lee, Adrian Piper, and Anna Deavere Smith. Durham, NC: Duke University Press. xii + 316 pp.

Modern Drama, 2013 Nka: Journal of Contemporary African Art, 2013 Theatre Journal, 2013 Woman’s Art Journal, 2013 American Literature, 2012 Art Journal, 2012 Ethnicity and Race in a Changing World: A Review Journal, 2012

Signs: Journal of Women in Culture and Society, 2012 Theatre History Studies, 2012 caa.reviews, 2011 Liminalities, 2011 The Theatre Annual, 2011 Times Higher Education, 2011

Edited Peer-Reviewed Journal Issues 2) Smith, C. (Ed.). (In press, expected December 2019). Special issue on 20th Anniversary

of the “Change the Joke, Slip the Yoke” Conference. Art Journal, 78(4). 3) Horton, J. L. & Smith, C. (Eds.). (2014). Special issue on post-race and postidentity

discourse in contemporary art. American Art, 28(1), 118 pp.

Smith, C. & Allen, G. (Eds.). (2007). Special issue on alternative modes of art distribution. Art Journal, 66(1), 120 pp.

Peer-Reviewed Journal Articles 4) Smith, C. (In press, expected December 2019). Persistent Tropes. Introduction to special issue of Art Journal, 78(4), 21-23. 5) Smith, C. (2019). Carrie Mae Weems: Rethinking Historic Appropriations. Nka: Journal

of Contemporary African Art, 44, 36-48. 6) Smith, C. (2017). Upsetting the Archive: Lessons from Brian Wallis’s “Black Bodies,


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White Science.” American Art, 31(2), 17-18. https://doi.org/10.1086/694048. 7) Horton, J. L. & Smith, C. (2014). The Particulars of Postidentity. Introduction to special

issue of American Art, 28(1), 2-8. https://doi.org/10.1086/676623.

Smith, C. (2009). White on Black: Power Relations in F. Holland Day’s Ebony and Ivory. exposure: Journal of the Society of Photographic Education, 42(1), 33-42.

Smith, C. (2007). Re-member the Audience: Adrian Piper’s Mythic Being

Advertisements. Art Journal, 66(1), 46-58. https://doi.org/10.1080/00043249.2007.10791239

Allen, G. & Smith, C. (2007). Publishing Art: Alternative Distribution in Print.

Introduction to special issue of Art Journal, 66(1), 41-45. https://doi.org/10.1080/00043249.2007.10791238.

Smith, C. (2004). Looking Relations in a Charnay Photograph. Fotophile 46, 16-20.

Smith, C. (1999). Fragmented Documents: Works by Lorna Simpson, Carrie Mae Weems, and Willie Middlebrook at the Art Institute of Chicago. Museum Studies 24(2), 244-259, 271-272. https://doi.org/10.2307/4112970.

Smith, C. (1998). African Art at the Art Institute of Chicago. Museum Studies 23(2), 112-

119. Peer-Reviewed Book Chapters 8) Smith, C. (In press, expected November 2019). Palm Trees: Charles Gaines in

Conversation with Cherise Smith, Parts 1 & 2 (Interview). In Charles Gaines: Palm Trees and Other Work. New York: Hauser and Wirth Publishers, 14-19 & 112-117.

9) Smith, C. (2019). Excerpts from an Interview with Drs. Edmund W. Gordon and Edmund

T. “Ted” Gordon. In V. Roberts (Ed.), Charles White: The Gordon Gift to The University of Texas. Austin, TX: Tower Books, 51-59.

10) Smith, C. (2019). Homage to Sterling Brown. In V. Roberts (Ed.), Charles White: The

Gordon Gift to The University of Texas. Austin, TX: Tower Books, 33. 11) Smith, C. (2018). Good Fences, Good Neighbors? Rodney McMillian Takes on History.

In H. Pesanti (Ed.), Rodney McMillian: History is Present Tense. Austin, TX: The Contemporary, 137-151.

12) Smith, C. (2015). Under Duress: If Everybody’s Work is Equally Important. In LaToya

Ruby Frazier. Nimes, France: Carré d'Art Musée d'Art Contemporain, 30-37.


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13) Smith, C. (2015). Bittersweet Blackness: Humor and the Assertion of Ethnic Identity in

Eleanor Antin’s Eleanora Antinova. In A. Rosenthal (Ed.), No Laughing Matter: Visual Humor in Ideas of Race, Nationality and Ethnicity. Hanover, NH: Dartmouth College Press, 242-269.

Smith, C. & Matthews Jr., G. (2009). What is the Relevance of Museums? Can You

Imagine a World Without Them?” In S. Holo & M. T. Alvarez (Eds.), Beyond the Turnstile: Making the Case for Museums and Sustainable Values. Lanham, MD: AltaMira Press, 44-48.

Smith, C. (2006). Moneta Sleet, Jr. as Active Participant: The Selma March and the

Black Arts Movement. In L. G. Collins & M. N. Crawford (Eds.), New Thoughts on the Black Arts Movement. New Brunswick, NJ: Rutgers University Press, 210-226.

Smith, C. (2006). Glenn Ligon. In A. D. Carlozzi & K. Baum (Eds.), Blanton Museum of

Art: American Art since 1900. Austin, TX: Blanton Museum of Art, 174-175.

Smith, C. (2004). Moneta Sleet, Jr. In H. L. Gates, Jr. & E. B. Higginbotham, African American National Biography. Cambridge, UK: Oxford University Press.

Smith, C. (1996). In Black and White: Constructing History and Meaning in Civil

Rights Photographs. In P. Ewing, Jr. & J. P. Roddy (Eds.), Let My People Go: Cairo, Illinois 1967-1973. Carbondale, IL: Southern Illinois University Press, 81-94.

Book & Exhibition Reviews 14) Smith, C. (2016). Review of Reading Basquiat: Exploring Ambivalence in American Art,

by Jordana Moore Saggese. Nka: Journal of Contemporary African Art, 38(1), 218-219.

15) Smith, C. (2015). Review of Bound to Appear: Art, Slavery, and the Site of Blackness in

Multicultural America, by Huey Copeland. caa.reviews. http://dx.doi.org/10.3202/caa.reviews.2015.16.

Smith, C. (2006). Review of African Art Now, Fine Arts Museum, Houston and Double

Consciousness, Contemporary Art Museum Houston. African Arts 38(4), 78-82. Museum Exhibitions 16) Smith, C. (August 28, 2019 – November 30, 2019). Charles White and the Legacy of the

Figure: The Gordon Gift to the University of Texas. Christian-Green Gallery, University of Texas at Austin.


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https://www.galleriesatut.org/charles-white-exhibition.

Installation views, Charles White and the Legacy of the Figure: The Gordon Gift to the University of Texas, August 28, 2019 – November 30, 2019, Christian-Green Gallery. Curated by Dr. Cherise Smith. • Review: Laura August, “Legacies of a Friendship: UT Celebrates Major Charles

White Donation,” Arts and Culture Texas, August 17, 2019. http://artsandculturetx.com/legacies-of-a-friendship-ut-receives-major-charles-white-donation/.

• “The University of Texas Presents Two Exhibitions on Acclaimed American Artist Charles White,” Arts Alliance Austin, August 13, 2019. https://www.artallianceaustin.org/project/the-university-of-texas-at-austin-presents-two-exhibitions-on-acclaimed-american-artist-charles-white.

• “Charles White: An Artist ahead of his time has his moment,” Sightlines, October 15, 2019. https://sightlinesmag.org/charles-white-an-artist-ahead-of-his-time-finally-has-his-moment

17) Smith, C., Foster, C. E., Roberts, V., Chambers, E., & Townsend, P. (September 7, 2019

– December 1, 2019). Charles White: The Gordon Gift to the University of Texas. Blanton Museum of Art, University of Texas at Austin. https://blantonmuseum.org/rotation/charles-white/.

Installation views, Charles White: The Gordon Gift to the University of Texas, September 7, 2019 – December 1, 2019, Blanton Museum of Art, University of Texas at Austin. Curated by Dr. Cherise Smith.


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• “Blanton Museum to Open Exhibition of Charles White Works,” Art Daily, August 20, 2019. http://artdaily.cc/news/116072/Blanton-Museum-to-open-exhibition-of-Charles-White-works#.XaekKS2ZNp8.

18) Smith, C. (September 19, 2017 – December 22, 2017). Focus: Michael Ray Charles.

Idea Lab, Art Galleries at Black Studies, University of Texas at Austin. https://www.galleriesatut.org/michael-ray-charles-exhibit.

Installation views, Focus: Michael Ray Charles, September 19–December 22, 2017, Idea Lab. Curated by Dr. Cherise Smith.

Smith, C. (July 26, 1997 – September 14, 1997). Women’s Work: African Terracotta

Vessels. Art Institute of Chicago.

Smith, C. (March 23, 1994 – May 22, 1994). My Point of View: Photographs by Moneta Sleet, Jr. Originated at the Saint Louis Art Museum (SLAM), traveled to Albright Knox Gallery and Virginia Museum of Fine Art (VMFA).

Smith, C. (1994) Frames in Transition: Contexts and Concepts of African Art. Joseph

Gross Gallery, University of Arizona.

Smith, C. (1994). Chair Madness. Joseph Gross Gallery, University of Arizona.

Smith, C. (1994). Selections from the Permanent Collection: Jazz. Center for Creative Photography (CCP), University of Arizona.

Smith, C. (1994). Selections from the Permanent Collection: Mexico. Center for Creative

Photography (CCP), University of Arizona. Intellectual Art Products 19) Drs. Susan G. and Edmund W. Gordon Collection: Donation ($3.3 million) of 23

artworks by master American artist Charles White. I develop collecting practices that 1) create scholarship that changes the canon of art history using historical objects, 2) integrate collections on the UT campus for researchers to use, and 3)


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make UT a significant destination to create knowledge surrounding Black art. Resulted in the mounting of 2 exhibitions (Charles White: The Gordon Gift to the University of Texas and The Legacy of the Figure in 2019), the publication of one book (Charles White: The Gordon Gift to the University of Texas in 2019), numerous class visits to study the objects, and the naming of the Gordon-White Building (of Black and Latinx Studies) Established 2015.

20) Christian-Green Collection: Donation ($800,000) of artworks by master American artists

Norman Lewis, John Biggers, and Romare Bearden, among others. I develop collecting practices that enable cutting-edge and ephemeral artistic products to have a long-term research impact on campus, nationally, and internationally. Resulted in the mounting of 5 exhibitions (Lingua Franca in 2019, Llewellyn Xavier’s George Jackson Series in 2017, Art History in 2014, Lifelong Adventure: Brandywine Prints from The Green & Christian Collection in 2013, and Five Decades of Haitian Painting: Selections from the Green-Christian Collection in 2013) and the naming of the Christian-Green Gallery (2016). Established 2013: Artwork loaned 2013, artwork donated 2016.

21) Art Galleries at Black Studies (Christian-Green Gallery, the Idea Lab, and ISESE

Gallery): I created and maintain two galleries where faculty, students, and lay people produce practical and theoretical knowledge through exhibitions relating to the Black experience in the United States, Africa, and the Diasporas. Resulted in the mounting of 25 exhibitions, including 2 by MacArthur “Genius” Award-winning artists (LaToya Ruby Frazier and Dawoud Bey), and the hosting of 8 artist-residents, including 2 MacArthur “Genius” Award winners (Frazier and Bey). ISESE Gallery established 2009. Idea Lab established 2014: https://www.galleriesatut.org/idea-lab. Christian-Green Gallery established 2016: https://www.galleriesatut.org/christian-green-gallery.

Op-Eds 22) Smith, C. (2017, March 29). “Should a White Artist Paint Emmett Till?” The Dallas

Morning News. https://www.dallasnews.com/opinion/commentary/2017/03/29/ should-a-white-artist-paint-emmett-till/

23) Smith, C. (2016, September 21). “Cultural Appropriation is Everywhere. But Is It Always

Wrong?” Motto. https://time.com/4501037/cultural-appropriation-marc-jacobs-dreadlocks/

24) Smith, C. (2015, July 5). “Charleston, Dolezal, & the ‘Possessive Investment in

Whiteness.’” NewBlackMan (in Exile). https://www.newblackmaninexile.net/ 2015/07/charleston-dolezal-possessive.html

25) Smith, C. (2015, April 14). “Reflections of a Black Female Scholar: I Know What It


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Feels Like to be Invisible.” The Conversation. https://theconversation.com/ reflections-of-a-black-female-scholar-i-know-what-it-feels-like-to-be-invisible-39748

26) Smith, C. (2014, December 17). “A Public Lynching in Sproul Plaza.” Pacific Standard.

https://psmag.com/social-justice/a-public-lynching-in-sproul-plaza-california-berkeley-96683

27) Smith, C. (2014, October 17). “Why I’m Not Buying Beyoncé’s Brand of Feminism.”

Women’s eNews. https://womensenews.org/2014/10/why-im-not-buying-beyonces-brand-of-feminism/

Exhibition Catalogue Essays 28) “Michael Ray Charles: The Artist as Archivist.” Michael Ray Charles. (September 5,

2019-January 3, 2020). UMLAUF Sculpture Garden + Museum. Austin, TX. 29) Native Sons: Many Thousands Gone. (April 13, 2019-June 8, 2019). Susanne Vielmetter

Gallery. Los Angeles, CA. https://vielmetter.com/events/opening-deborah-roberts 30) Parts and Scenes. (January 26, 2019-March 2, 2019). Various Small Fires Gallery. Los

Angeles, CA. http://www.vsf.la/nikki-s-lee-parts-and-scenes/

“Uses of Documentary Photography by Black Photographers.” Double Exposure: African-Americans Before and Behind the Camera. (January 14, 2006-June 18, 2006). The Wadsworth Atheneum. Hartford, CT, 2-5.

Work in Progress 31) Smith, C. (Under contract, manuscript due September 2021). Healing Old Wounds:

Affect, Appropriation, and Trauma in Contemporary African American Art. Austin, TX: University of Texas Press.

RADIO & TELEVISION APPEARANCES

Smith, C., Piedad, J. R., & Scafidi, S. (2018, October 26). “Where Is The Line Between Cultural Appropriation and Appreciation On Halloween?” The Source, Texas Public Radio. https://www.tpr.org/post/where-line-between-cultural-appropriation-and-appreciation-halloween

Smith, C., Blumfoe, N., McInroy, R., Reddick, R. J., & Roberts, V. (2018, August 7).

“The City Within Our City.” Views and Brews, KUT News (NPR affiliate), University of Texas at Austin.


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Smith, C., & Salinas, A. (2017, April 4). “March On by John Lewis.” Fox7 News, Austin.

Smith, C., Carrington, B., McInroy, R., & Thrasher, S. (2016, December 13). “Cultural

Critique of Stuart Hall.” Views and Brews, KUT News (NPR affiliate), University of Texas at Austin.

Smith, C. “Current Research: Michael Ray Charles,” Humanities in the Spotlight (HiTS),

College of Liberal Arts, University of Texas at Austin.

Smith, C. , Reddick, R., Tang, E., & Lawrence R. (2014). “Race in America.” KUT News (NPR affiliate), University of Texas at Austin. https://humanitiesmediaproject.org/race-in-america-what-do-we-need-to-talk-about/

Smith, C. (2012). “Enacting Others.” Mixed Chicks Chat. https://blubrry.com/

mixedchicks/1411092/episode-258-mixed-chicks-chat-with-cherise-smith/ INSTITUTION BUILDING Department Chair, 2018-present African and African Diaspora Studies Department, College of Liberal Arts As Chair of African and African Diaspora Studies, I am the Department’s primary leader and point person. I am responsible for preparing and monitoring the annual budget; managing and facilitating the department’s decision-making and governance; fostering a positive professional climate, defining its core values, and encouraging shared vision and cooperation. I am responsible for the review of tenure and promotion cases; managing the process for renewal; and overseeing the hiring and retention of outstanding and diverse faculty and staff. As the primary liaison between the administration and the faculty, I interpret university policies, advocate for the department at the university level and with the Dean, and communicate these activities to colleagues and students. I serve as mentor to faculty colleagues, and I supervise faculty committees and make committee assignments. I manage the review and recruitment of undergraduate and graduate students, and I oversee curriculum development, course offerings, and degree-granting. I also guide the department’s Strategic Planning processes.

• Responsible for successfully shepherding the promotion of two faculty, 2019. • Responsible for the retention of three faculty, 2019. • Oversaw the recruitment of a 6-student graduate cohort, 2019. • Manage 2 domestic (Los Angeles and New York) and 1 study abroad (Ghana) program,

2019. • Maintain development strategy and oversee development staff.


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Founding Executive Director, 2014-present Art Galleries at Black Studies (AGBS), College of Liberal Arts As Founding Executive Director of AGBS, comprised in Christian-Green Gallery and The Idea Lab, I conceived and led the effort to design, fund, and build a 2000-square-foot exhibition space with museum-quality HVAC and security in Jester Hall; and a 400-square-foot experimental gallery in the Gordon-White Building, both at Black Studies at the University of Texas at Austin. The Galleries’ mission is to display art and material culture related to social justice and the African Diaspora. I oversee the operation and curation of the two exhibition spaces; develop innovative exhibitions and programming; provide leadership, vision, and guidance to the 10-person staff; cultivate funding for sustainability; and manage and oversee budget according to UT policy.

• Christian-Green (Art) Gallery o Secured funding from the Office of the President to fund the renovation of the

Warfield Center’s historic space into a state-of-the-art gallery. ($1.6M). o Opened January, 2016. Hosting its 9th exhibition. See Appendix A and Appendix

B. o Obtained operating budget from the Office of the President and College of Liberal

Arts (valued at $200K) o Secured gift to establish name: Christian-Green Gallery (valued at $800K)

• Acquisition and Stewardship

o Steward collection of over 800 art objects, including preservation and rotating displays

o Actively enhance presence of art and material holdings relating to the Black Diasporas at UT through continued acquisitions to the Black Studies’ collections, Black Diaspora Archive (BDA), and other UT institutions

• Public Relations

o Advance integration of the Galleries and collections into the broader University arts context

o Further the Galleries’ missions across campus, the Austin community, and more broadly

o Build meaningful partnerships with regional, national, and international art organizations and arts leaders, with attention to strategic growth, diversity, and sustainability; represent Galleries at national and international conferences

Director, 2013-2017 John L. Warfield Center for African and African American Studies (WCAAAS), College of Liberal Arts The John L. Warfield Center for African and African American Studies (WCAAAS) is the home of research and programming within the larger Black Studies unit at UT Austin. As Director, I


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fostered intellectual growth, increased the awareness of Black Studies on campus and across the nation, supported Black Studies through strategic development efforts and public advocacy. Under my stewardship, WCAAAS built partnerships across campus, bringing important resources to UT that could not have occurred otherwise. I fostered diversity and collaboration in the broadest sense by building new collections such as the Black Diaspora Archive and specialized spaces such as the Idea Lab, the Christian-Green Gallery, and the Gordon-White Building for students, faculty, and the community to encounter, study, and produce innovative Black culture and knowledge. See attached Appendix C for programming I managed.

• Development o Spearheaded the effort and managed the gift of Susan G. and Edmund W. Gordon

Family Collection of art by Charles White to UT and Black Studies (valued at $3.3M). See Appendix D for the impact of the White gift.

o Secured naming rights to 19,500-square-foot Ethnic Studies building for donors. o Oversaw the renaming by working with Office of the President, Central

Development, University Operations, and CoLA Facilities, among other on-campus organizations.

o Created and maintained Black Studies Advisory Committee, fundraising body. § Established twice-yearly meeting schedule, mission, and priorities. § Recruited board members. Foster positive relationships with donors and

stakeholders.

• Art and Archive Initiative o Secured funding to make UT a significant site for research on the African

Diaspora by expanding the holdings of art and material collections relating to the Black Diaspora at UT. ($500K from Office of the President)

o Developed Black Diaspora Archives (BDA, with Drs. Edmund T. Gordon and Charlie Hale) at Benson Latin American Studies and Collection in partnership with AADS and UT Libraries

§ Joined with AADS and LLILAS to create Black Diasporas Special Collections.

o Secured recurring funding from the University of Texas at Austin President’s Office for the hire of an archivist, including an acquisition budget.

o Blanton Museum of Art (BMA)

§ Coordinated the donation of the Susan G. and Edmund W. Gordon Family Collection of art by Charles White to UT, Black Studies and Blanton Museum of Art. (valued at $3.3M)

§ Work with BMA to steward the Collection. § Procured funding from CoLA to hire graduate research assistants at BMA

(valued at $60K). o Harry Ransom Humanities Research Center (HRC): Provided funds to acquire

artwork by LaToya Ruby Frazier.

• Malcolm X Lounge Renovation


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o Secured funding from Office of the President ($156K) to renovate undergraduate lounge that services students of African descent.

o Worked closely with undergrads to create initial budget and design. o Managed design and build out with PMCS and Edwards + Mulhausen Interior

Design. AWARDS AND HONORS 2017 Nominated for Civitatis Award, University of Texas at Austin.

2016 Nominated for David C. Driskell Prize in African American Art, High Museum.

2014 Outstanding Teaching Award, Department of Art and Art History, College of Fine Arts, University of Texas at Austin.

2014 Mentoring Fellowship, Graduate School, University of Texas at Austin. PRESENTATIONS Invited Talks “Artist Talk: Rodney McMillian.” San Francisco Museum of Modern Art (SFMoMA). San

Francisco, CA. 2019. “Artist Talk: Genevieve Gaignard.” Christian-Green Gallery, University of Texas at Austin.

Austin, TX. 2019. “Artist Talk: Elia Alba and The Supper Club.” Visual Arts Center (VAC), University of Texas at

Austin. Austin, TX. 2019. “Carrie Mae Weems’ Appropriative Histories.” University of Richmond. Richmond, VA. 2018. “Carrie Mae Weems, the Humanist.” Humanisms and Anti-Humanisms. Terra Foundation.

Giverny, France. 2017. “Rethinking Weems’ Historic Appropriations, or a Cautionary Tale.” Center for Communication,

Difference and Equity, University of Washington. Seattle, WA. 2016. “The OpEd Project at University of Texas at Austin.” University of North Carolina, Chapel

Hill. Chapel Hill, NC. 2016. “Current Research.” California College of the Arts. Oakland, CA. 2015. “Healing Wounds?” Northern Illinois University. DeKalb, IL. 2015. “The Art of Play: A Conversation.” The Getty Center. Brentwood, CA. 2015.


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“Stories of Migration, Stories of Movement.” Nelson Art Gallery, University of California at

Davis. Davis, CA. 2013. “Healing Old Wounds: Carrie Weems’ Use of Historic Photographs.” Cornell University. Ithaca,

NY. 2013. “Faculty Book Presentation Series: Things Done Change.” Discussant for Professor Eddie

Chambers. Warfield Center for African and African American Studies, University of Texas at Austin. Austin, TX. 2013.

“Staged Reading of Single Black Female.” Discussant for Professor Lisa B. Thompson. Warfield

Center for African and African American Studies, University of Texas at Austin. Austin, TX. 2013.

“Legacy of Loving v. Virginia.” Warfield Center for African and African American Studies,

University of Texas at Austin. Austin, TX. 2013. “Faculty Book Presentation Series: Enacting Others.” Discussion with Professor Shirley

Thompson. Warfield Center for African and African American Studies, University of Texas at Austin. Austin, TX. 2011.

Conference Presentations “An Auspicious Year.” Acts of Art and Rebuttal in 1971. Leubsdorf Gallery, Hunter College.

New York, NY. 2018. Chair. “Representing Race in the History of Art.” Facing Racism. Blanton Museum of Art,

University of Texas at Austin. Austin, TX. 2018. Chair. “‘Change the Joke, Slip the Yoke’ Twenty Years Later.” Annual Conference of College

Art Association. Los Angeles, CA. 2018. “Artistic Practice: Michael Ray Charles.” Racial Masquerade in American Art and Culture.

Richardson Symposium, National Portrait Gallery. Washington, D.C. 2016. Chair. Panel on “Art, Activism, Action.” Black Matters: The Futures of Black Scholarship and

Activism. University of Texas at Austin. Austin, TX. 2016. Roundtable Discussion with art collective My Barbarian. Warfield Center for African and

African American Studies, University of Texas at Austin. Austin, TX. 2016. “Carrie Mae Weems’ Historic Appropriations.” Annual Conference of College Art

Association. New York, NY. 2016. “Pleasure, Pain, Politics, and Performance: Black Women Artists and Their Fans.” Annual

Conference of American Studies Association. Los Angeles, CA. 2014.


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“Introduction: Deborah Willis.” Flair Symposium. Harry Ransom Humanities Research Center,

University of Texas at Austin. Austin, TX. 2014. Chair. Panel on “The Particularities of Post-Identity.” Annual Conference of College Art

Association. New York, NY. 2013. “The Material Body?: Adrian Piper’s Food for the Spirit.” Critical Mixed Race Studies Conference,

DePaul University. Chicago, IL. 2012. Exhibition Talks “Robert Pruitt and Deborah Roberts in Conversation with Cherise Smith.” Charles White:

Celebrating the Gordon Gift. October 8, 2019. Blanton Museum of Art. Austin, TX. October 8, 2019.

“On Identity: A Public Talk and Q&A with Genevieve Gaignard, Ashlyn Davis, and Dr. Cherise

Smith.” In Passing: Works by Genevieve Gaignard. The University of Texas at Austin. Austin, TX. January 30, 2019.

ADVISING Dissertation Committees Completed: Chair Ariel Evans, “‘I am for an art:’ The Struggle of the San Diego Group and the Women’s Caucus to

Reinvent Photography in the Society for Photographic Education, 1962-1982,” Ph.D. in Art History, 2018. Lecturer, Texas State University.

Rose Salseda, "The Visual Art Legacy of the 1992 Los Angeles Riots," Ph.D. in Art History, 2018. Assistant Professor, Stanford University. Ford Foundation Pre-doctoral Fellowship.

Kimberli Gant, “Eko o ni baje (May Lagos be indestructible): Lens-based Representations of Transformations in Lagos,” Ph.D. in Art History, 2017. Curator, Modern & Contemporary Art, Chrysler Museum.

Tatiana Reinoza, “Latino Print Cultures in the U.S., 1970-2008,” Ph.D. in Art History, 2016. Assistant Professor, Notre Dame University. Postdoctoral Fellow, Society of Fellows, Dartmouth University.

Tara Kohn, “Books to Connect the ‘People of the Book’: Photographic Constructions of Jewish Community in Three American Anthologies,” Ph.D. in Art History, 2013. Lecturer, Northern Arizona University. Andrew Mellon Post-doctoral Fellow in American Art, Bowdoin College.


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Completed: Member Dorota Biczel, “‘A Mediocre Utopia’: Artistic Interventions, Migration, and Making of Urban Publics in Lima, Peru, 1978–1989,” Ph.D. in Art History, 2019. Kara Carmack, “Marginal Centers: Parties on, off, and through Manhattan Public Access Television,

1972-1983,” Ph.D. in Art History, 2018. Assistant Professor, Misericordia University.

Maryam Ohadi-Hamadani, “The Commonwealth of Abstraction: Black Artists in London, 1948-72,” Ph.D. in Art History, 2018. Post-Doctoral Research Associate, Yale Center for British Art.

Andrea Nicole Brown, “‘Hush Somebody’s Calling My Name’: The Haint Elegy and Black Women’s Poetry,” Ph.D. in African and African Diaspora Studies, 2017.

Assistant Professor, Literary and Cultural Studies, Bryant University. Heather Buffington, “‘What Do They Call Me?’: Reconsidering Jazz and the Black Arts

Movement,” Ph.D. in Music, 2016. Assistant Professor, Claflin University.

Kate Green, “Encountering Vito Acconci: Performing Conceptual Art circa 1970,” Ph.D. in Art History, 2016. Curator, El Paso Museum of Art.

Jacqueline Smith, “Black Princess Housewives and Single Ladies: Reneé Cox's Housewife Enactments and the Politics of Twenty-First Century Wealthy Black Womanhood,” Ph.D. in American Studies, 2016. Corporate and Philanthropic Development Officer at The SAFE Alliance, Austin.

Amanda Douberley, “The Corporate Model: Sculpture, Architecture, and the American City, 1946-1975,” Ph.D. in Art History, 2015. Assistant Curator, William Benton Museum of Art, University of Connecticut.

Chuyun Oh, “K-popscape: Gender Fluidity and Racial Hybridity in Transnational Korean Pop Dance,” Ph.D. in Theatre, 2015. Assistant Professor, San Diego State University.

Sebastian Vidal Valenzuela, Ph.D. in Art History, 2015. Fulbright Fellow.

Director, Center for Art Studies Foundation CEdA, Alberto Hurtado University, Santiago, Chile.

Melissa Warak, “Made to Music: Interactions of Music and Art, 1955-1969,” Ph.D. in Art History, 2014.

Vivian L. Smith Foundation Fellow. Assistant Professor, Art History, The University of Texas at El Paso.

Andy Campbell, “Bound Together: Being-with Gay and Lesbian Leather Communities and Visual Cultures, 1966-1984,” Ph.D. in Art History, 2012. Assistant Professor, University of Southern California.

Laura Lindenberger, “Looking Forward Together: Three Studies of Artistic Practice in the South,


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1920-1940,” Ph.D. in Art History, 2012. Independent curator and critic.

Mike Wellen, “Pan-American Dreams: Art, Politics, and Museum-making at the OAS, 1948-1976,” Ph.D. in Art History, 2012. Curator, International Art, Tate Modern.

Current Chair Kaila Schedeen, “Turning Back, Looking Forward: Framing Nation and Identity in the Landscape

Portraits of Tseng Kwong Chi, Carrie Mae Weems, and Will Wilson,” 2016-present, Art History. Mellon Intern in Native American Art, Fred Jones Jr. Museum at Oklahoma University.

Phillip Townsend, “Visualizing Displacement in The Black Atlantic: The Works of Maria Magdalena Campos-Pons, Njideka Akunyili Crosby, and Sokari Douglas Camp,” 2016-present, Art History. Diversity Continuing Fellowship, UT.

Jessica DiTillio, “Interart Traffic: Parody and the Politics of Identity in Contemporary American Art,” 2014-present, Art History. ACLS/Luce Fellowship for Dissertations in American Art.

Uchenna Itam, “Feeling Visible: Affecting the Senses in the Work of Nadine Robinson, Janine Antoni, and Wangechi Mutu,” 2013-present, Art History.

Julia Elizabeth Neal, “Who Taught You to Think Like That: Benjamin Patterson’s Conceptual Aesthetic,” 2013-present, Art History. Terra Foundation International Travel Grant. Fulbright Graduate Fellowship. Getty Research Institute Research Grant.

Alexis Salas, “Making It Work: The Artists and Projects of Temístocles 44 Projects (Mexico City, 1991-2003),” 2013-present, Art History. (Co-Chair). Visiting Assistant Professor, Hampshire College.

Current Member Bethzabeth Colon Pizzini, 2018-present, African and African Diaspora Studies. Charlene Catharine Marsh, “Mediating Images: UNESCO’s Photographic Projects, 1946-1956,”

2015-present, Art History. Elizabeth Jean Welch, “Looking at Bodies: Dance Index, the Visual Arts, and the Image of

Performance in the 1940s,” 2015-present, Art History.

Lokeilani Lee Kaimana, 2013-present, Radio, Television, Film. Natalie Zelt, “Looking and Looking Back: The Photograph, Blackness, Family and Self-

Representation in the Work of LaToya Ruby Frazier, Mickalene Thomas, and Njideka Akunyili Crosby,” 2012-present, American Studies.

Robin Kathleen Williams, “Joan Jonas’s Visual Language,” 2011-present, Art History.


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Masters Committees Completed: Chair Lilia Taboada, “With Interruption: Coalition and Collaboration in 1983 Los Angeles,” M.A. in Art

History, 2019. Yohanna Tesfai, “I am Black: Confronting Black Identities in Zanele Muholi's Somnyama

Ngonyama,” M.A. in Art History, 2017. Chantaneice Kitt, “Body, Flesh, Skin, Canvas: Black/Queer/Women and Tattoos as Diasporic Art,

Reclamation, and Performance,” M.A. in African and African Diaspora Studies, 2017. Patricia Ortega-Miranda, “Decentering Revolutionary Visions: The Politics and Poetics of

Representation in Nicolás Guillén Landrián's Coffea Arabiga,” M.A. in Art History, 2017. (Co-Chair).

Ph.D. candidate, University of Maryland. Phillip Townsend, “(Re)framing Resistance and (re)forging Solidarity: Negotiating the Politics of

Space, Race, and Gender in Maria Magdalena Campos-Pons’ Habla La Madre,” M.A. in Art History, 2016.

Sarah Dickerson, “Borderlines of Labor: Margarita Cabrera's Sculptures and the (un)American Dream,” M.A. in Art History, 2014.

Caitlin Julia Rubin, “Somewhere between Here and There: Sharon Hayes and Catherine Opie, Picturing Protest,” M.A. in Art History, 2013. Assistant Curator, Rose Art Museum, Brandeis.

Jared Richardson, “Br(other)s Only: Rashid Johnson,” M.A. in Art History, 2012. Post-doctoral Fellow, Stanford University.

Taylor Bradley, “Rematerializing the Art Object: Eleanor Antin’s Carving: A Traditional Sculpture in Context with The Eight Temptations,” M.A. in Art History, 2012.

Completed: Second Reader Emily Lauren Butts, M.A. in Art History, 2019. La’Kayla C. Williams, “The Art of Black Life: Black Women in Hip Hop Culture,” M.A. in

Women’s and Gender Studies, 2018. Kelsey Hoffman, “An Ecstatic Collapse: A Re-thinking of Faig Ahmed's Carpet Series,” M.A. in Art

History, 2016. Rebecca Giordano, “Readymaintenance: Systems, Feminist Economics, and the Immaterial

Readymade in the Work of Mierle Laderman Ukeles,” M.A. in Art History, 2015. Ph.D. candidate, University of Pittsburgh. Natalie Marie Zelt, “Documenting against Erasure: Deindustrialization and the Camera in the Work

of LaToya Ruby Frazier,” M.A. in American Studies, 2014. Letitia Hopkins, “For My People—Margaret Walker—Lithographs by Elizabeth Catlett: A

Consideration,” M.A. in Art History, 2014.


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Janaye Brown, M.F.A. in Studio Art, 2013. Christina Coleman, M.F.A. in Studio Art, 2012 Jennie Lamensdorf, “Famous and Glamorous: The Role of FILE magazine in the Work of General

Idea,” M.A. in Art History, 2011. Director and Curator of Time Equities Inc. Art-in-Buildings. Current: Chair Martha Scott Burton, 2018-present, Art History. SERVICE To the Profession Member, Advisory Board, Archives of American Art Journal, Smithsonian American Art

Museum. 2019-2021. Juror, Eldredge Prize, Smithsonian American Art Museum, 2018-present.

Reviewer, Ford Foundation Fellowship Program, Irvine, CA, 2015-present.

Nominator, David C. Driskell Prize in African American Art and Art History, High Museum of Art, Atlanta, 2006-present.

Member, Critical Ethnic Studies Committee, American Studies Association, 2016-2018.

External Reviewer, Williams College Department of Art and Art History, 2015.

External Tenure Reviewer, Department of Visual Studies, University of California at Santa Cruz, 2014.

Reviewer, American Council of Learned Society (ACLS), Dissertation Finishing Fellowship, 2013, 2014.

Curatorial Advisor, Museum of the African Diaspora, San Francisco, CA, 2006-2012. Juror, Minneapolis College of Art and Design/Jerome Foundation Fellowship for Emerging

Artists, 2011. Manuscript Reviews University of California Press, 2019. Museum of Modern Art, 2018. Souls, 2016. American Art, 2012, 2014, 2015; 2016. American Quarterly, 2012.


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To the University Board Member, Donald D. Harrington Fellows Program, 2016-2021. Member, Task Force on Window signage. Office of the President, 2019. Director (with Dr. Daina Ramey Berry), Public Voices Fellowship, OpEd Project, 2014-2017. Founder (with Drs. Edmund T. Gordon and Charlie Hale), Black Diaspora Archive, LLILAS

Benson Latin American Studies and Collections, 2014. Director, John L. Warfield Center for African and African American Studies, College of Liberal

Arts, 2013-2017 Member, College of Liberal Arts International Study Advisory Committee, College of Liberal

Art, 2013-2017. Gift Steward, Christian-Green Collection: Responsible for a nearly one-million-dollar donation

to Black Studies at UT from Rudolph Green and Joyce K. Christian. The Christian-Green Collection contains works by master American artists Norman Lewis, John Biggers, and Romare Bearden, among others. Resulted in the naming of the Christian-Green Gallery, 2016.

Gift Steward, Drs. Susan G. and Edmund W. Gordon Collection: Responsible for a multi-million-dollar donation to Black Studies at UT from Drs. Susan G. and Edmund W. Gordon. The Gordon collection consists of a painting, several larger scale drawings, and a number of prints by master American artist Charles White. In collaboration with Blanton Museum of Art. Resulted in the naming of the Gordon-White Building (of Black and Latinx Studies), 2014.

Member, Faculty Strategic Planning Committee. Harry Ransom Humanities Research Center, 2014.

Associate Director, John Warfield Center for African & African American Studies, College of Liberal Arts, 2012-2013

Executive Council, Center for Mexican American Studies, 2011. To the Department Chair, Department of African and African Diaspora Studies, College of Liberal Arts, 2018-

present Executive Committee, Department of African and African Diaspora Studies, 2011-2013; 2015-

2017; 2018-present (ex-officio). Admissions Committee, Department of Art and Art History, 2005-present. Host, Art History Lecture series, 2006-present. Dr. Tirza Latimer, 2017; Dr. Wanda Corn, 2016;

Dr. Jordana Saggese, 2014. Faculty Recruitment Committee, Department of African and African Diaspora Studies, 2019. Faculty Recruitment Committee, Department of African and African Diaspora Studies, 2017. Chair (with Dr. Minkah Makalani), Black Matters: The Futures of Black Scholarship and

Activism Conference, 2016. Diversity Committee, Department of Art and Art History, 2005-2016. Minority Liaison, Department of Art and Art History, 2005-2015. Executive Committee, Department of Art and Art History, 2010-2013.


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Coordinator, “Writing Art Histories: Alexander Nemerov and Roberto Tejada,” Co-sponsored by Department of Art and Art History Lecture Series, Center for Mexican American Studies, and Blanton Museum, University of Texas at Austin, 2011.

To the Region Trustee. St. Stephens Episcopal School. Austin, TX. 2017-2020. Professional Memberships College Art Association (1998-present), American Studies Association (2005-present), Association

of Historians of American Art (2005-present), Collegium of African American Research (2005-present)