Current Graduate StudentsFor departmental alumni click here
In spring 2016 Samuel will defend his dissertation, “Theaters of Contemporary Art in Cold War Germany, 1951-1979.” This study of performance art and theater set designs by artists such as John Heartfield and Joseph Beuys, shows that theatricality, though discredited in critical discourse of the period, was a major theme in postwar art. His research is funded by the German Academic Exchange Program (DAAD), the Fritz Thyssen Foundation, the Pittsburgh Foundation, and USC's Hovel Memorial Scholarship and Provost PhD Fellowship. Honors earned at USC include the general education graduate teaching award. After his BA at New York University he worked at the Los Angeles County Museum of Art and the Getty Research Institute. He has shared research at the Association of Art Historians, the College Art Association, the Courtauld Institute of Art, the German Studies Association, Harvard University, the International Bauhaus Colloquium, Stanford, Tufts, and UCLA. He has written for Afterimage, ARTnews, Big Red & Shiny, caa.reviews, and the volume Representations of German Identity (Oxford: Peter Lang, 2013).
Emily Anderson is a doctoral student in Art History. She received her BA in Art History and Archaeology at Tufts University and her Master’s in Art History from Southern Methodist University. She has worked at the Museum of Fine Arts, Houston in the Sarah Campbell Blaffer Foundation where she compiled a bibliography of pre-1800 illustrated medical texts in special collections in the Houston area. Before starting at USC, Emily served as the graduate intern in the Drawings Department at the J. Paul Getty Museum. At the Getty, she worked on Renaissance Florentine drawings and also 19th-century French drawings and lithography. She has researched and worked in variety of fields, but she is currently interested in the visual history of science and medicine. Emily works on drawings, prints, and biological materials in the early modern period. She is also interested in trans-Atlantic print culture and collecting practices in relation to science and knowledge in the sixteenth century.
Nadya is completing her dissertation this year with the support of an ACLS-Mellon Dissertation Completion Fellowship, and will defend in May 2016. Her dissertation, "The Decisive Network: Magnum Photos and the Art of Collaboration in Postwar Photojournalism," examines the rapid transformation of one of the 20th century's most powerful forms of visual media, photojournalism, by studying the daily operations of Magnum Photos, the global photographic cooperative established in 1947 by such photographers as Robert Capa and Henri Cartier-Bresson. Based in unprecedented access to over a dozen archives of Magnum photographers and their clients, this project studies photojournalism as a profession and as a system, recovering the collaborative labor and multiple stages of production that have been largely missing from the history of photography. Research grants from USC's Visual Studies Research Institute and the Science, Technology, and Society Research Cluster have supported Nadya's research at the International Center for Photography, the Ransom Center, the Center for Creative Photography, the Magnum Foundation, and the UNESCO archives. In 2011, she worked on the exhibit "Through Soviet Jewish Eyes: Photography, War, and the Holocaust," which opened at the Museum of Jewish Heritage in New York in the fall of 2012. Nadya graduated summa cum laude and Phi Beta Kappa from Barnard College in 2006, received her MA in Art History from USC in 2012 and advanced to candidacy in April 2013.
Jessica is a PhD student in the Department of Art History. Her research focuses on late nineteenth- and twentieth-century European modernism with a particular interest in mechanical reproduction and works on paper, including prints, photographs, magazines and artist books. She is interested in issues including the conditions of making in the artist’s studio; the dissemination and circulation of works on paper; the intersection of art and graphic design histories; and the utility of art objects. Formerly a curatorial assistant in photography at the San Francisco Museum of Modern Art (SFMOMA), she has worked on exhibitions including Public Intimacy: Art and Other Ordinary Acts in South Africa (2014); South Africa in Apartheid and After: David Goldblatt, Ernest Cole, Billy Monk (2012-2013); and Francesca Woodman (2011-2012). Her writing has appeared in art on paper, Curating Now, Art Practical, Daily Serving, Daylight Digital, and on SFMOMA's blog, Open Space. Independently, she has organized exhibitions at the Wattis Institute for Contemporary Arts and Park Life, in San Francisco, and at Headlands Center for the Arts, in Sausalito, CA. She holds a BA from New York University and an MA in Curatorial Practice from the California College of the Arts.
|Emma is pursuing a doctoral degree in Art History and a graduate certificate in Visual Studies at USC. Her research focuses on mid-twentieth-century American visual and material culture, with particular interests in commercial print culture and representations of technology and transportation. In 2009, she graduated summa cum laude from Washington University in St. Louis with an A.B. in Art History & Archaeology. As a multi-year Distinguished Fellow, she earned an M.A. in Art History from the University of Illinois at Urbana-Champaign in 2014. She has held positions at the Corcoran Gallery of Art, the Saint Louis Art Museum, the Mildred Lane Kemper Art Museum, and the Regional Arts Commision of St. Louis, and has participated in public art initiatives throughout St. Louis city and county.|
Lauren Dodds is a Provost Doctoral Fellow in the department of art history. In August 2015, she advanced to candidacy and completed the Visual Studies Graduate Certificate. Her general research interests include the history of collection and display, museum studies, and early modern Italian art. She is currently engaged in research for her dissertation, “Collecting the Renaissance: The Samuel H. Kress Collection of Italian Art, 1920-1961.” This project will examine how the Kress Collection’s formation represented new approaches to collecting the past, the Kress Foundation’s gifts contributed to the development of mid-century American museum practices, and how the creation and dispersal of this focused collection re-inscribed the centrality of the Italian Renaissance in American cultural institutions. A former Lilly Fellow in the Humanities and Arts, Lauren's research has also benefitted from support by the Visual Studies Research Institute, the USC department of art history, and the Katherine Rigsbee Dougan Grant. Prior to beginning the PhD program at USC, Lauren interned at the National Gallery of Art in Washington, D.C. and gained experience at the Dallas Museum of Art, Christie’s in Beverly Hills, the Frederick R. Weisman Museum in Malibu, and the Getty Museum. She graduated summa cum laude from Pepperdine University in 2008 and received her M.A. in art history at Southern Methodist University in 2011.
Robert is a first-year PhD student in the Department of Art History, where he works on twentieth-century design and material culture. His research focuses on relationships between design and business, discourse and practice, and production and distribution. Specific interests include the professionalization of design in the United States, corporate identity formation, and furniture showrooms as sites of display and merchandising. He holds a BA from Brown University and an MA in Decorative Arts, Design History, and Material Culture from the Bard Graduate Center, where he was PECO Foundation Curatorial Fellow and conducted research for the BGC Gallery’s upcoming exhibition on Artek and the Aaltos.
|Rika Hiro is starting her 6th year in the Ph.D. program. Her primary interest is in post-WWII period art and visual culture in Japan, especially the Anti-Art movement in the 1960s and 1970s and its global exchanges. Before coming to USC, she worked as a research assistant at the Los Angeles County Museum of Art and the Getty Research Institute and co-founded non-profit art space Art2102 of Los Angeles. She is a regular contributor to Japanese contemporary magazine Bijutsu Techô, and co-curated Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan 1950-1970 and Radical Communication: Japanese Video Art, 1968-1988 both at the GRI. She holds M.A. in Art History and Museum Studies from USC.|
Karen Huang advanced to doctoral candidacy in July 2013. A Provost PhD Fellow, Karen's general research interests include modern and contemporary American art; art as political intervention; the relationship between performance and documentation; and the history of print. Her dissertation explores how contemporary American artists employ reenactment as a method for engaging with politics of the Vietnam War era, and how those reenactments can produce, alter, and interrogate collective memory in America. Karen co-organized the 2012 USC symposium, "Art and the Mind: Neuroaesthetics, Phenomenology, and the Experience of Vision," and she has worked as a research assistant at the Getty Research Institute and the Santa Monica Museum of Art. Before coming to USC, Karen worked in the departments of Prints and Drawings and Medieval through Modern European Painting and Sculpture at the Art Institute of Chicago. She was an exhibition researcher and catalogue contributor to Watercolors by Winslow Homer: The Color of Light (AIC, 2008), and she contributed research to Jose Guadalupe Posada and the Mexican Broadside (AIC, 2007). Karen earned her MA in Modern Art History, Theory, and Criticism from the School of the Art Institute of Chicago and her BA in Art History and Spanish from Vanderbilt University.
Yoonah Hwang is currently in her second year in Ph.D. program of Art History at USC. She received her B.A. degree in History from Yonsei University in 2007, and graduated from Seoul National University with a M.A. in Art History. Her primary field of interest is in the Buddhist art in China, particularly focusing on the artistic production and exchange along with Silk Road including the Dunhuang and Turfan regions during the ninth-tenth centuries. She also focuses on the rituals that take place inside the cave temple as well as the original context of objects found inside, including banner paintings. Hwang has gained professional experience at the Metropolitan Museum of Art in New York and the National Museum of Korea.
|Grant Johnson is a Dornsife Doctoral Fellow in the department of art history and participant in the visual studies graduate certificate. His research considers postwar and contemporary painting, sculpture and fashion. Recent publications include, "Citing the Sun: Marc Jacobs, Olafur Eliasson and the Fashion Show," in Fashion Theory, June 2015. An independent curator, he is currently at work on 20/20 Accelerando, an exhibtion of new work by artist Lita Albuquerque. An active critic and writer, his work appears in Artforum, The Brooklyn Rail, Modern Painters, Surface and Performa, where he was a writer-in-residence from 2012-2014. In 2014, he co-organized "Exhibit A: Authorship on Display," a conference of scholars, curators and artists at the Graduate Center of the City University of New York. He has contributed to curatorial projects and publications at The Frick Collection, Peggy Guggenheim Collection, Paul Kasmin Gallery and the Gund Gallery; and presented at Yale University and the University of Manchester. He is a graduate of Kenyon College and former Associate of The Kenyon Review.|
Natalia Lauricella is a doctoral student in the Department of Art History. Her research interests are in late nineteenth- and twentieth-century European art with a particular focus on graphic arts, including print albums, posters, and artist books. Prior to joining the department, she worked as a curatorial assistant of collections and exhibitions at the Solomon R. Guggenheim Museum in New York where she contributed to a number of exhibitions including Italian Futurism, 1909-1944: Reconstructing the Universe (2014), Agnes Martin (2016), Salon de la Rose+Croix (2017), and The Avant-Gardes of Fin-de-Siècle Paris: Signac, Bonnard, Redon, and their Contemporaries (2017). Natalia graduated from Barnard College in 2011 with a major in art history and minor in French and received her M.A. in the history of art from The Courtauld Institute of Art in 2012.
Megan advanced to doctoral candidacy in August 2012. A College Doctoral Fellow, she is in her fifth year in the PhD program. Her dissertation, “An Aesthetic of Imagination: The Documentation of American Land and Conceptual Art in Germany, 1968-1975,” explores various strategies employed in the documentation and dissemination of American art of the 1960s and 70s in West Germany, demonstrating the ways in which photography, video and installation were often at pains to keep alive the contingency of the original artistic intervention. Megan has been the recipient of language study, travel and research grants from DAAD and USC’s Dornsife. She co-organized the 2012 symposium, “Art and the Mind: Neuroaesthetics, Phenomenology and the Experience of Vision," and has presented her work at the German Studies Association (2012) and UCLA (2013). Prior to joining the PhD program at USC, Megan worked in the modern art department at LACMA, where she contributed to such projects as the 2008 reinstallation of the museum's collection of modern art and the 2009-10 exhibition, "Art of Two Germanys/Cold War Cultures." She was a contributor to the recent LACMA publication, Envisioning Modernism: The Janice and Henri Lazarof Collection (2012). Megan received her BA in Art History from USC in 2006.
Christopher McGeorge is in his second year as a Dornsife Doctoral Fellow in Art History. His research focuses on nineteenth-century British art and visual culture, Victorian engagements with the past, and reproductions of Victorian paintings. In 2010, McGeorge graduated from Lawrence University with a degree in Art History and English. He completed his MA in Art History at University of Wisconsin-Madison in 2012, producing a thesis titled “Caravaggio and the Victorians: Contextualizing the Practice of Art History and Unraveling a 20th-Century Narrative of Rescue.”
Brendan is a Provost Fellow who advanced to doctoral candidacy in May, 2013 and currently holds an Andrew W. Mellon Fellowship from the Center for Advanced Study in the Visual Arts, as well as a Fulbright Garcia-Robles Fellowship. He is now based in Mexico City and is conducting research for his dissertation, "Colors of Deception: The Arts of Iridescence in the Early Modern Spanish World," which investigates the physical and rhetorical lives of three iridescent materials-hummingbird feathers, shot taffeta, and mother of pearl-in seventeenth-century Spain and Mexico. Focusing on their vibrant materiality, the study situates the reception of these materials within period debates surrounding the limitations of vision, the boundaries of artistic creation, and the mechanics of sight itself. This project grows out of larger research interests that include the relationships between art and science, the reception of transient color, and the transregional circulation of objects and bodies in the early modern world. He holds a BA in Art History and Hispanic Studies from Vassar College (2007; general and departmental honors, Phi Beta Kappa) and an MA from USC (2012), as well as professional experience as a museum educator at the Art Institute of Chicago and the Brooklyn Museum. When not in the library, Brendan can often be found observing local bird-life with binoculars in hand.
Avigail Moss is a second-year PhD student working on the intersection between art, economics, and technologies of risk and speculation in the nineteenth- and twentieth-centuries. From 2009 to 2010 she was a researcher-in-residence at the Jan van Eyck Academie in Maastricht, The Netherlands, where she co-organized symposia on art, philosophy, and feminist theory. In 2012 she co-edited a book on painting after Conceptual Art (Painting - The Implicit Horizon, Jan van Eyck Academie. Co-edited with Kerstin Stakemeier). She has produced essays and presentations for art institutes in Europe and North America, including Castillo/Corrales Section 7 Books, FR; Zentrum Paul Klee, CH; de Appel Arts Center, NL; Marres House for Contemporary Culture, NL; Piet Zwart Institute, NL; Kunsthaus Bregenz, AT; Presentation House Gallery, CA; and YU Contemporary, US. She has also published exhibition reviews in Texte zur Kunst and CAA.online. She holds a BA from UCLA, an MFA in painting from Yale University, and an MA (Distinction) in art history from University College London.
|Elizabeth received her B.A. in Art History from Bard College in 2005. Her primary interest is in Contemporary Native American and Chicano art, with a focus on cross-cultural representations and appropriation. She has worked on traditional New Mexican "folkart", lowrider art, and other non-art art practices. Before starting at USC she was the co-founder and director of an alternative, collective art space (A.D. Collective) in Santa Fe, NM.|
Ambra Spinelli is a Ph.D. Candidate in the Art History with a major in ancient Roman Art and Archaeology at USC. Her dissertation “The Tablinum: A Space and Stage for Private and Public Rituals in the Houses of Pompeii and Herculaneum” offers the first comprehensive analysis of the history, forms, structural features, as well as possible activities and cultural experience of one of the most important rooms of the ancient Roman house, the tablinum, with central focus on the cities of Pompeii and Herculaneum. Ambra received her B.A. in Classics and her M.A. in Archaeology and Cultures of the Ancient World (summa cum laude) from the Università di Bologna-Alma Mater Studiorum. Particularly noteworthy was her M.A. thesis concerning the preparation of a Museum of Antiquities inside the Department of Archaeology, Università di Bologna. Ambra has participated in several archaeological excavations and research projects involving Etruscan, Roman, and Medieval sites in Italy, such as Marzabotto, Bologna, Herculaneum, Pompeii, Acquaviva Picena, and Albinia. She attended SOMA 2007: XI International Symposium on Mediterranean Archaeology in Istanbul, with a published paper titled: "Underwater Archaeology in Italy: the Park of Baia (Naples)." Ambra served as Antiquities Department Graduate Intern in 2009-2010 at the J. Paul Getty Villa, Los Angeles. She also collaborated with the J. Paul Getty Villa in the 2012 exhibition "The Last Days of Pompeii," and she served as Graduate Student Intern in 2014-2015 in the Antiquities Department at the J. Paul Getty Villa, where she has worked on the exhibition “Power and Pathos: Bronze Sculpture of the Hellenistic World” and was Co-Organizer of the XIX International Congress on Ancient Bronzes (held at the Getty Center and Getty Villa on October 13-17, 2015). Ambra has been working since 2011 as Assistant to the Director and Project Archivist in the "PARP:PS - Pompeii Archaeological Research Project: Porta Stabia," led by the University of Cincinnati, and at the 2013 Annual Meeting of the Archaeological Institute of America in Seattle, she presented a poster titled "Disinterring a Pompeian Middle-Class Neighborhood" on her archival research and was awarded "Best Poster Award." She has been also invited to deliver several special talks on the 2014 "Pompeii" exhibition at the California Science Center for the LA local society of the Archaeological Institute of America, California Classical Association, and Patrons of the Italian Culture. In October 2015, she was invited to deliver a lecture: “Reading Pompeii in the Modern Era: the History of its Excavations and the Pompeii Archaeological Research Project: Porta Stabia” for the Patrons of the Italian Culture at the University of Pepperdine, Los Angeles. More recently, she presented part of her dissertation project on the tablina in the houses of Pompeii and Herculaneum at the 2016 Annual Meeting of the Archaeological Institute of America in San Francisco. In 2015, Ambra has been awarded a two year USC Andrew Mellon Ph.D. Fellowship in Digital Humanities to work on her dissertation.