Ph.D. Art History, University of California, Los Angeles, 2016
M.A. Art History, University of California, Los Angeles, 2009
B.A. Art History with Honors, Stanford University, Double Minor, Italian and Urban Studies, 2005
My research specializations include modern and contemporary American and European art, as well as contemporary African art (continental and diasporic), with a focus in social art history and cultural geopolitics. I am currently working on a book project on the early work of contemporary Italian artist Michelangelo Pistoletto within the politicized cultural context of 1950s and 1960s Europe.
Refereed Journal Article
2010 “Horror Histories: Apartheid and the Abject Body in the Work of Jane Alexander,” African Arts 43, no. 4 (Winter): 30–41.
Refereed Book Chapter
2012 “Suspensions of Self-Perception: On Vision and Subjectivity in Contemporary Art.” In Theorizing Visual Studies: Writing Through the Discipline, edited by James Elkins and Kristi McGuire, with Maureen Burns, Alicia Chester, and Joel Kuennen, 242–45. New York: Routledge.
2005 Faberman, Hilarie, with Susan B. Cameron and Tenley Bick. Fired at Davis: Figurative Ceramic Sculpture by Robert Arneson, Visiting Professors, and Students at the University of California at Davis, from the Paula and Ross Turk Collection. Stanford: Cantor Arts Center. Catalogue published in association with the exhibition held at the Cantor Arts Center.
2012 Celant, Germano. “Interview.” Interview by Miwon Kwon and Philipp Kaiser. In Ends of the Earth: Land Art to 1977, edited by M. Kwon and P. Kaiser, 123–27. Los Angeles: Museum of Contemporary Art. Previously unpublished contribution. Translated from the original Italian. Catalogue published in association with the internationally-traveling exhibition of the same title.
2011 Rosenfield, Susan, Lucian Gomoll, Tenley Bick, Kirk Sides, and Samuel M. Anderson. “First Word: Reports on the Fifteenth Triennial Symposium of African Arts.” African Arts 44, no. 3 (Autumn): 1–9. Review of the Fifteenth International Triennial Symposium of African Arts organized by the Arts Council of the African Studies Association (ACASA), UCLA, Mar. 23–27. Authored review of the Triennial film program. Films reviewed: Sandrine Loncke, Dance with the Wodaabes (2011); Elizabeth Perrill, Uwucwebzela: To Shine (2010); and Susan Vogel, Fold, Crumple, Crush: The Art of El Anatsui (2011). Invited review.
“What Goes Around Comes Around: Myth and Male Trauma in Somali Diasporic Cinema” (article; Third Text)
Figure as Model: The Work of Michelangelo Pistoletto (book)
“Cold Images: Pistoletto’s Protest Pictures” (article)
“Productive Plagiarism: Michelangelo Pistoletto and Vettor Pisani’s Plagio, 1970–1976” (article)
“Anachronic Casts: Paolini’s Plaster Sculptures and the Years of Lead” (article)
“Open Figures: Boccioni’s Futurism” (article)
“Beyond Somalia Anno Uno: Somali Narrative Film in Postcolonial East Africa” (article)
2010 “Joseph Beuys and Arte Povera: The Value of Poor Work.” Presented at the Los Angeles County Museum of Art (LACMA), Los Angeles, California, January 13, in conjunction with the exhibition “Joseph Beuys: The Multiples,” curated by Stephanie Barron and Eckhart Gillen (LACMA, 2009–10). Commissioned lecture.
2017 “Productive Plagiarism: Michelangelo Pistoletto and Vettor Pisani’s Plagio, 1970–1976.” The Center for Italian Modern Art Study Day, “Post-It: Reconsidering the Postmodern in Italian Art and Performance since 1965,” New York City, New York. Feb. 13–14.
2016 “Anachronic Casts: The Sculpture of Giulio Paolini in the Years of Lead, 1968–1982.” The American Association for Italian Studies (AAIS) Annual Conference, Louisiana State University, Baton Rouge, Louisiana, Apr. 21–23.
“Beyond Somalia Anno Uno: Somali Narrative Film in Postcolonial East Africa.” 104th College Art Association (CAA) Conference, Washington, D.C., Feb. 3–6.
2015 “Figure as Model: The Early Work of Michelangelo Pistoletto.” The American Association for Italian Studies (AAIS) Annual Conference, University of Colorado, Boulder, Mar. 26–28.
2011 “‘Somaliwood,’ Ohio: Somali Cinema as Diasporic Phenomenon.” Fifteenth International Triennial Symposium on African Art, Arts Council of the African Studies Association (ACASA), UCLA, Mar. 23–27.
2008 “Splitting the Present: Gordon Matta-Clark’s Photo-Collages.” Twelfth Annual University of Southern California Department of Art History Graduate Student Symposium, University of Southern California, Los Angeles, California, Mar. 8.
2005 “The Psychological Experience of the World in Perspective: Albertian Theory, Brunelleschian Optics, and the Humanist Body.” First Annual Stanford University Graduate Conference in French and Italian, Stanford, California, May 6–7.
Panels Organized and Chaired
2018 Panel organizer and chair, “Processi italiani: Examining Process in Postwar Italian Art, 1945–1980.” 106th College Art Association (CAA) Conference, Los Angeles, Feb. 21–24. Sponsored by the Italian Art Society (forthcoming).
2016 Panel organizer and chair, “African Arts and Italian Colonialism: A Missing Africanist History.” 104th CAA Conference, Washington, D.C., Feb. 3–6. Sponsored by the Arts Council of the African Studies Association (ACASA).
2015 Panel organizer and chair, “Unattended Figures: Revisiting Figuration in Postwar Italian Art, 1945–1980.” The American Association for Italian Studies Annual Conference, University of Colorado, Boulder, Mar. 26–28. Sponsored status: Italian Art Society.
2011 Chair, “Current Studies in African Film,” organized by Doran Ross. Fifteenth International Triennial Symposium on African Art, Arts Council of the African Studies Association (ACASA), UCLA, Mar. 23–26.
In my teaching, as in my research, I situate art historical subjects within their respective social contexts, while connecting them to broader global frameworks. By addressing “western” and “non-western” subjects under the same framework, my pedagogy bridges institutional divides. My goal is for students to understand that histories of creative practice and visual culture are themselves historical constructs, often predicated upon these divisions and are, therefore, subject to methodological testing and potential revision. This lesson encourages students to understand the broader importance of art history and gives them a sense of agency to conduct original research. My pedagogical strategies are committed to an interactive, globally minded instruction of art history. Students leave my courses having mastered the skills to approach art from diverse perspectives, encouraged to engage in art history to improve upon our understanding of the world, both historical and contemporary.
Contemporary Arts of Africa and Its Diasporas
Contemporary Art: 1940s/1950s
The Global Sixties: Art, Revolution, and Internationalism in the 1960s
Introduction to the History of Western Art
Introduction to African Art (traditions-based; 11th c.–present)
Methods and Theory
Women Artists and Gender in Modern and Contemporary Art
2017– Visiting Assistant Professor, Department of Art and Art History, Washington College
2013; 2015–16 Lecturer, Department of Art History, UCLA