Current Graduate Students Past Grad Students
Currently a first year PhD student, Giovanna Bassi Cendra previously studied and practiced architecture. She received her bachelor’s degree from the Universidad Ricardo Palma in Lima, Peru and her Master of Architecture from the Illinois Institute of Technology. She recently graduated from the University of Houston with a MA in Art History. Her MA thesis “New Monumentality, Integration of the Arts, and the Shaping of Modern Life” adopted a transnational lens to chart several approaches to the notion of the Gesamtkunstwerk through which socially and politically engaged art and architecture came together in the 20th century. Her volunteer work for the Museum of Fine Arts, Houston’s International Center for the Arts of the Americas sparked her interest for the dynamic exchanges that existed between avant-garde groups in the US, Europe, and Latin America. Giovanna plans to specialize in modern and contemporary Latin American art and architecture and to focus her research on the ideological implications of art as an integral part of the built environment.
In addition to being a part-time Ph.D. student at Rice University, Chelsea Dacus is Assistant Curator of The Glassell Collections, African, Oceanic, Pre-Columbian, and Antiquities at the Museum of Fine Arts, Houston. She has worked at the MFAH since 2004, assisting in the production of multiple exhibitions including Pompeii: Tales from an Eruption and contributed to several museum publications. Chelsea earned her BA in Art History, cum laude from Mt. Holyoke College and her MA in Art History with a specialty in Maya Art from Southern Methodist University, but has now executed a 180 degree turn to study ancient Roman art. She has a particular interest in the role of women in Roman art and society.
Jane Evans earned her Bachelor's in history and French from Arizona State University then completed a Master's in art history from Syracuse University. Her MA work focused on early modern northern European art, a field that remains her minor. Her dissertation is an eco-social study of Romantic British landscape in which she hopes to use a variety of sources and methodologies to expand both landscape studies and current understandings of the human-environment relationship. She has held multiple fellowships at the Museum of Fine Arts, Houston, most recently helping design an exhibition of the works from the Habsburg Imperial Collection in Vienna. In addition to academic work, Jane currently serves as the External Vice President for the Humanities Graduate Student Association.
After Angelica Kauffman
Prior to my studies at Rice, I received my MA in Art History from the University of Houston (2013) and my BFA in studio art from The School of the Art Institute of Chicago (2008). While a PhD student at Rice, I've been a recipient of the Jameson Fellowship in American Decorative Arts and Painting at the Bayou Bend Collection of the Museum of Fine Arts, Houston (2015-16) and a Curatorial Fellow in the department of American Painting and Sculpture at the Museum of Fine Arts, Houston (2016-17).
My primary focus on 18th and 19th century painting in Britain has expanded over the course of my graduate study to include portrait miniatures, drawings, prints, the decorative arts and art made by amateurs. I am especially interested in the transatlantic circulation of visual and material culture during the long 19th century between Britain and America. My dissertation will focus on works made “after” Angelica Kauffman, RA (1741-1807) in a wide variety of media, from prints and decorative paintings to ceramics and embroideries.
I am a sixth year Ph.D. candidate and a 2016-2017 Luce/ACLS dissertation fellow in American Art. After earning an M.A. in art history from Williams College, I was a visual arts curatorial fellow at the Walker Art Center then associate curator and Cynthia Woods Mitchell fellow at Blaffer Art Museum. My curatorial training heightened my awareness of the power of placement and directed my research toward analyzing artworks juxtaposed in exhibitions and lectures. Sequences of artworks can convey sharply focused political intentions, and my dissertation uses material culture to expose racial politics as a driving force behind the institutionalization of art history in the U.S.
Philip Kelleher is a PhD student in the department of Art History at Rice University. He holds a master’s degree in Art History from Binghamton University, SUNY. Kelleher was a Critical Studies fellow in the Whitney Museum of American Art Independent Study Program (2013-2014) and in the Museum of Fine Arts, Houston Core Program (2011-2013). He participated in the Irmgard Coninx Foundation’s 17th Annual Berlin Roundtable on Transnationality (2013). He has served as a lecturer in the School of Visual and Dramatic Arts at Rice University and the School of Art at the University of Houston.
I am a sixth year Ph.D. Candidate with a focus on Italian Renaisance art. Prior to Rice University, I earned my Bachelor's degree in art history from Northwestern University (Evanston, Illinois) and have worked at art galleries and real estate firms. My dissertation, titled "Revealing and Concealing: Interactive Objects in Italian Renaissance Art, 1400-1600" explores the user's physical interactions with objects and sensory experience in early modern Italy. My other topics of interests include Renaissance multiculturalism and issues of gender and sexuality.
In 2016, I returned from researching abroad in the UK and Italy, sponsored by the Wagoner’s Foreign Study Scholarship and Brown Foundation Dissertation Research Award. Further support from the Walter Read Hovey Scholarship of the Pittsburgh Foundation and a grant from the Humanities Research Center at Rice University will allow for my attendance of an archival research course at the Medici Archive Project in Florence, Italy, in the summer of 2017.
In 2016, I presented a paper titled "Italian Courtesans in Early Modern Interactive Art" at the Annunal Meeting of the Renaissance Society of America in Boston, and two recent publications include “‘Bevi Se Puoi:’ An Italian Renaissance Tantalus Cup in the Museo Internazionale delle Ceramiche in Faenza.” (Faenza, Bollettino del Museo Internazionale delle Ceramiche Cll, no. 2 (2016): 37-53) and, co-authored with Dr. Diane Wolfthal, “Newly Discovered Penitent Magdalen by Giampietrino.” (Source: Notes in the History of Art 35, no.4 (Summer 2016): 311-21).
I am a first year Ph.D. student studying spatial systems across modern art objects, design, and architecture. My earlier research on parks and gardens questions the agency of the choreographed viewer-subject. Shifting focus to discreet objects, I will remain engaged with the art and architecture of Brazil, Perú and other countries in Latin America. Future projects will offer readings of the underlying political, social, cultural and economic contexts of these objects and question the modalities and narratives to which they are bound. http://rice.academia.edu/AjaMartin
I am a second year Ph.D. student currently completing course work for my Doctorate Degree in Art History and Art Criticism at Rice University in Houston, Texas. I am passionate about art and architecture's effect on social history. Preliminary work is being done to prepare for my Doctoral thesis. Recently published, my Master's thesis concerning the Battle House in Tuscaloosa, Alabama focuses on Greek Revival architecture and its role in race relations as well as its use as further justification for the institution of slavery during the Antebellum period. I am currently the Bayou Bend Collection and Gardens Jameson Fellow.
Danielle Meeker was awarded a Bachelor's degree in Art History from the College of William and Mary in 2009. For the next six years, she worked in the contemporary art departments of three Northeast Ohio museums, including as founding gallery manager for the private photography musuem Transformer Station in Cleveland. Her research interests coalesce around ideas of hybridity, performativity, and irony in the creation of the modern subject for early 20th century avant-gardists, especially in media such as photomontage and collage that scavenge imagery from material culture and construct artworks from "outside-in." She is also fascinated by the exchange of ideas between Eastern and Western Europe during this period, and the various ways in which a specifically avant-garde artistic identity was produced in opposition to wider cultural forces.
Nikki Moore is currently a Ph.D. student in the Department of Art History at Rice University. After completing her S.M.Arch.S at the Massachusetts Institute of Technology, (MIT) in 2005, Nikki continued her graduate studies at the European Graduate School (EGS), working with Avital Ronell toward a dissertation on mit-sein as conceived by Martin Heidegger and troubled by Jacques Derrida. Student teaching for Slavoj Žižek brought her to question the ideologies of nature and sustainability. Her current research in agrilogistics, as described by Timothy Morton, focuses on the industrialization of food-based commodities and concurrent development practices in modern Latin America, focusing on their symbiotic relationship to art and architectural practices. Her work has been published in Europe, Brazil and the United States.
Adrienne Rooney studies twentieth-century art and visual culture in the Caribbean and United States, with a focus on performance, narrative traditions, and cultural memory. She received her B.A. in art history from Barnard College / Columbia University (2012) and worked as a curatorial assistant at the Whitney Museum of American Art (2012–2015). She has conducted research for and programmed at Danspace Project (2012 and 2016) and published writing in Texte zur Kunst. Her work has been supported by the Deutsche Akademische Austauschdienst (DAAD, 2015–2016) and the Wagoner Foreign Study Scholarship (2017).
My work currently analyzes fifteenth-century Northern European painting and illuminated manuscripts, and specifically examines representations of Hell, devils and demons. I received my M.A. from American University in Washington, D.C. where I focused on Quattrocento cassoni panels and American women printmakers at the turn of the twentieth-century.
Before matriculating in Rice's PhD program, I worked at the Smithsonian American Art Museum and The World Bank within the Archives of Development. My doctoral research interests also include female spectatorship in late medieval private devotion, and the intersection of gender performance and economic class.
I have studied Chinese archaeology at Capital Normal University in Beijing, and then completed a master's degree in history from Fudan University in Shanghai. My past research has focused on two distinct, but related issues: the role of artworks in small-scale tribe society; and the way that people use material culture and space in the establishment and maintenance of religious culture. I have been exploring these issues through a couple of case studies on medieval Buddhist art via the Silk Road. I am very passionate about cultural encounter, and my current work has sought to place this powerful communication embroied by artworks in a wider context.
Claire Spadafora received a bachelor’s degree in the history of art from Washington and Lee University, and completed a master’s degree in the history of art from the University of Illinois, Chicago. Research for her master’s thesis centered on the movement of ideas and objects from Italy to England during the 17th and early 18th century, with a focus on the relationship between early Grand Tour travel and development of taste. Interested in the building of collections, especially collections of works on paper, her current research explores the relationship between the growth of collections and establishment of authority, with an emphasis on collections assembled through or inspired by Grand Tour travel to Italy. She has held internships and fellowships with several collections, including the Art Institute of Chicago, the Newberry Library, and the Museum of Fine Arts, Houston, as well as a position at Christie’s.
Primarily concerned with the production and reception of Late Gothic architecture in Normandy, Kyle Sweeney's research on parish churches such as Notre-Dame de Louviers illustrates how the distinct, ornate Gothic monuments of this understudied era were entwined with French identity and leveraged as tools in nation building. His project is not a comprehensive biography of the church but a case study that illustrates how commissioning late Flamboyant architectural projects in the early sixteenth century was largely a civic affair designed to showcase material wealth, prosperity, alliances, and independence—the elements of status needed to craft an identity of power in an increasingly expanding, hierarchical world. Sweeney is serving as Chair of the Vagantes Conference on Medieval Studies Board of Directors and is HRC/Andrew W. Mellon Public Humanities Fellow in Art of the Islamic Worlds at the Museum of Fine Arts, Houston. He earned a Master of Arts degree in medieval and Islamic art history at Indiana University-Bloomington and completed his Bachelor’s degree in Art History and History Honors at Purdue University.
For recent work, please visit his Academia.edu profile.
Intrigued by transnational imaginaries, my research explores issues of immigration and identity in the visual culture and built environment of Latin America. My dissertation focuses on the art and architecture of Arab-speaking diaspora (mahjar) communities in modern Argentina as a response to nationalist discourses. I also examine the contemporary patronage and artistic production of immigrant communities and refugees throughout Latin America today. In other projects, I have analyzed the costumbrismo movement in 19th century Peru as well as nationalist architecture in twentieth-century Argentina, Brazil, Chile and Uruguay. In 2013-2014 , I served as the Camfield Fellow in the Latin American curatorial department of the Museum of Fine Arts, Houston (MFAH). My research has been funded by Fulbright-Hays DDRA fellowship, the Brown Foundation Research Award, a SAHARA travel award from the Society of Architectural Historians (SAH) and the Wagoner Foreign Study Scholarship. Prior to studying at Rice, I received my MA in the History of Art at Indiana University in 2011 and BFA from the University of Notre Dame in 2001.
For select publications, please see: https://rice.academia.edu/CarolineWolf
I majored in mathematics in my undergraduate study at Tokyo Institute of Technology in Japan. I began to study art history in graduate school, during which time I also worked for art museums, such as the Kawasaki City Museum, the National Museum of Modern Art, Tokyo, and the Mori Art Museum. At the Mori, I worked for mainly two exhibition projects, “Metabolism, the City of the Future” (2011) and "Arab Express: The Latest Art from the Arab World" (2012). My research focuses on post-war American art, especially Barnett Newman, recontextualizing his work within a broader consideration of the sociopolitical/cultural meaning in the 1960s. I have published an essay in the scholarly journal Bijutsushi in 2012, “The Depth of the Canvas:The Transformation of Spatial Awareness in Barnett Newman’s Paintings,” which discusses the changes in spatial expression over the artist’s life. I earned a MA both at Tokyo Institute of Technology in 2011 and Hunter College in New York in 2014. Before coming to Rice, I spent one year serving as Scholar-in-Residence at the Barnett Newman Foundation, New York.
Betsy Stepina Zinn holds a master’s degree in art history from the University of Illinois at Chicago and a bachelor’s degree in English from Marymount Manhattan College. Her research focuses on modern and contemporary art, with specific interest in conceptual practices of the 1960s to the present and the intersection of art, language, and literature. Her work has been presented at the Museum of Modern Art, New York; Boston University; and Indiana University. She has also been a fellow at Project Row Houses in Houston. Before pursuing graduate work, Betsy spent eight years in the Publications Department of the Art Institute of Chicago, editing exhibition and permanent collection catalogues on artists such as Cy Twombly and Mel Bochner. She continues to work as a freelance editor for numerous institutions, including the Menil Collection and Aperture Foundation. She is currently the editor of the Jasper Johns Catalogue Raisonné of Painting and Sculpture, 1954–2014, a five-volume publication authored by Roberta Bernstein forthcoming from the Wildenstein Institute in 2016.