Coordinator, Women's Studies Program
Ph.D., M.A.,University of Wisconsin-Madison
B.A., George Washington University
- Contemporary African visual culture, specifically South Africa, specifically politically-engaged artists
- Women's visual culture
- Women's leadership and its representation
- Feminist theory and practice
- Memory, trauma, and their expressions in visual culture including commemorative sites
For the past fifteen years, I have been motivated to examine the relationship between visual culture, gender, and power in African arts. I am primarily interested in the ways in which artists use visual culture for the purposes of promoting social justice, and the ways in which women use art as a form of activism and empowerment. Several of my publications concern an artmaking cooperative called the Philani Printing Project, which is located in the township of Crossroads (South Africa). The women artists who work here have formed an amazing place where art and feminist politics intersect with political action. I have also written about the place of visual culture in relation to memory, trauma, and recovery.
The book that I am currently writing, tentatively titled "Selective Silencing and the Shaping of Memory in Post-Apartheid South African Visual Culture," examines visual representations of women political activists in South Africa both during and after the struggle against apartheid. Specifically, I examine the extent to which women's participation in the struggle for democracy is represented and remembered, and in many cases forgotten, in contemporary South African visual culture and commemorative sites. I argue that in the context of the country's urgent and ongoing debates about national transformation, the rich visual rhetoric that once helped create political identities and recognition for women has now largely disappeared.
Because I am primarily interested in the role and evidence of art in the question of political agency for women, my book should be of interest to scholars and practitioners interested in integrating the experiences of women into studies on conflict-affect areas more generally. Given that women in several transforming countries continue to struggle to make the dynamics of gender salient, the account of experiences of women in South Africa may very well have relevance for other contemporary contexts.
My research has been supported and recognized through a National Endowment for the Humanities Fellowship (2010), the Carrie Chapman Catt Prize for Research on Women and Politics (2010), the Andrew Mellon Foundation (2007), the American Association of University Women (2000), the Woodrow Wilson Foundation (1999), and the Smithsonian Institution (1996).
I teach or have taught the following courses:
* African visual cultures
* Contemporary African arts
* Art and social justice
* Introduction to women's studies
* Women and war
* Black feminist theory
* Women's studies senior seminar
* Commemorating Conflict (a First Year Seminar)
Researching and talking about family-friendly practices in the workplace. Shared governance. Institutional transformation. Reading about and learning from feminist administrators. Biking. Running. Yoga.
“Inter-weaving Art and Activism: Sandra Kriel’s Heroic Women,” to be published in Joanna Grabski and Carol Magee, eds., Bodies of Knowledge: Interviews, African Art, and Scholarly Narratives (forthcoming from Indiana University Press, 2012).
Editor (with Brenda Schmahmann). Gender and South African Art. Special issue of African Arts, 45.4 (Winter, 2012).
"Selective Silencing and the Shaping of Memory: The Case of the Monument to the Women of South Africa." South African Historical Journal, 63:2 (Summer, 2011).
“’Fire, Water, Forests, Swarms’ Penny Siopis discusses Who’s Afraid of the Crowd? With Kim Miller,” In Penny Siopis: Who’s Afraid of the Crowd? (Cape Town: Michael Stevenson Gallery, 2011).
Entries on Sue Williamson, Akiga Sai, Eleanor Nwadinobi, Delphine Zanga Tsogo, Nkoyo Toyo,Twins Seven Seven, Dorothy Nyembe, Josie Palmer, Madie Hall Xuma, Pumla Kisosonkole, in Henry Louis Gates, ed., Dictionary of African Biography (Cambridge: Oxford University Press, 2011).
"Moms with Guns: Women's Political Agency in Anti-Apartheid Visual Culture." African Arts. Volume 42, no. 2. Summer 2009.
"Iconographies of Gender, Poverty, and Power in Contemporary South African Visual Culture." in National Women's Studies Association Journal, special issue on feminist activist art. Spring 2007.
This article was anthologized as "Iconographies of Gender, Poverty, and Power in Contemporary South African Visual Culture." The Visible Woman: Female Representation in Performance and Visual Culture: A NWSA Journal Anthology. Olga Mesropova and Stacey Weber-Feve, co-editors. Baltimore: Johns Hopkins University Press, 2009.
"Women's Cooperatives and Self-Help Projects." Berg Encyclopedia of Dress and Fashion, edited by Joanne Eicher. Essay co-authored with Brenda Schmahmann, 2010.
Special edition of African Arts entitled Trauma and Representation: Imaging Violence in Africa and the African Diaspora. Co-edited with Shannen Hill. Autumn, 2005, vol. 38 no. 3.
"First Word: Trauma and Representation in Africa." (co-authored with Shannen Hill). In African Arts. Volume 38, no. 3. 2005.
"Trauma, Testimony, and Truth: Contemporary South African Artists Speak." In African Arts. Volume 38, no. 3. 2005.
"T shirts, Testimony and Truth: Memories of Violence Made Visible." in Textile: the Journal of Cloth and Culture. Volume 3, Issue 3. 2005.
"The Philani Printing Project: Women's Art and Activism in Crossroads, South Africa." in Feminist Studies (vol. 29, no. 3) Fall, 2003.
"Crossdressing at the Crossroads: Mimicry and Ambivalence in
Yoruba Masked Performance." in Susan Fillen-Yeh, ed. Dandies:
Fashion and Finesse in Art and Culture New York:New York
Some Recent Conference Presentations:
2012 “Militant Women and Symbolic Violence in South Africa’s Public Sphere,” National Women’s Studies Association Conference, Oakland, (November)
2012 “Career Planning for Women’s and Gender Studies Students,” National Women’s Studies Association Conference, Oakland, (November)
2011 "Memory, Mourning, and Militancy: New Directions in Researching and Writing Women’s Lives,” Berkshire Conference on the History of Women, Amherst, (June)
2011 “Feminist(s) Approach(es): Feminism and the Shaping of African Art” 15th Triennial Symposium on African Art, UCLA, (March)
2010 "Transforming the Core: Integrating Transnational, Activist, and Food Feminisms to the Women’s Studies Major,” Program Administration and Development Pre-Conference, National Women’s Studies Association Conference, Denver (November).
2010 “Disappearing Acts: The Visual Geographies of South African Women’s Activism Against Apartheid,” National Women’s Studies Association Conference, Denver (November)
2010 “Regarding Heroes: The Visual Geographies of South African Women’s Activism Against Apartheid” Remembering Africa and its Diasporas, Ottawa (October)
2010 “Places of Protest, Places of Pain, and the Politics of Commemoration,” North Eastern Workshop on Southern Africa Burlington, Vermont (April)
2010 “Singing, Sewing, Sitting: Commemorating Women’s Political Roles After Apartheid,” Third Biennial Symposium of the Department of Art History, Savannah College of Art and Design, Savannah, Georgia (February)
2009 “Teaching and Researching the Visual Culture of Women and War: Political Engagement in African Societies,” American Association of Colleges and Universities Conference on Integrative Learning: Addressing the Complexities, Atlanta, GA (October)
I have supervised independent work in: Black lesbian feminisms, Coalitions between men and women in women's studies, Chicago black women's clubs, women's micro-lending in Quito, Ecuador, mother-activist movements, women and public policy, and others