海角社区

Wallace is an internationally recognized authority on Michelangelo and his contemporaries. In addition to more than forty articles (as well as two works of fiction), he is the author and editor of four books on Michelangelo: Michelangelo at San Lorenzo: The Genius as Entrepreneur (Cambridge 1994); Michelangelo: Selected Scholarship in English (Garland, 1996), Michelangelo: The Complete Sculpture, Painting, and Architecture (Hugh Lauter Levin, 1998), and most recently, Michelangelo: Selected Scholarship in English (Garland 1999). He is currently writing a new biography of Michelangelo.

As a member of the Chickasaw Nation of Oklahoma, Traci Morris is an expert in federal Indian policy, telecommunications and digital culture. 

Morris has worked with Native American nations, Tribal businesses, Native American non-profits and has advocated for digital inclusion at the Federal Communications Commission and on Capitol Hill.

Morris is the Executive Director of the American Indian Policy Institute. Under her leadership, the AIPI has grown and diversified its service to Indian Country providing policy analysis, tribally driven research, and economic development capacity building and working with such Indian Country partners as NAFOA, AISES and the Indigenous Food and Agriculture Initiative.

Morris鈥檚 research and publications on Native American media and the digital divide are focused on Internet use, digital inclusion, network neutrality, digital and new media curriculums and development of broadband networks in Indian Country.

Miki Garcia is an expert in museums and art history.

Garcia is the director of the ASU Art Museum in the Herberger Institute for Design and the Arts. Under her leadership, the museum has received significant funding from the Art for Justice Fund for the planning and implementation of the upcoming exhibition 鈥淯ndoing Time: Art and Histories of Incarceration,鈥� opening in fall 2021.

Prior to ASU, Garcia served as executive director and chief curator of the Museum of Contemporary Art Santa Barbara (MCASB), where she oversaw curatorial and public strategies.

She has served as a curatorial representative to the Mexican Cultural Institute in Washington, D.C., on behalf of the Getty Foundation and has been a juror for the National Endowment for the Arts, Creative Capital Visual Arts Awards, Art Matters Foundation and more.

Dr. Shanahan’s research focuses on how the mass death, injury and shell shock produced by World War I (1914-1918) created a crisis of masculinity and a crisis in gender roles that could be felt and seen in society, especially in art and visual culture. As a lens into this experience, she has studied the French cubist artist Fernand Léger (1881-1955) who was a soldier during that war and whose postwar art (painting, book illustration, set and costume designs, film set design) imagine robotic figures and fantastical futuristic interiors. While many historians see such futurist manifestations in Léger’s art and other machine modernisms as either fascistic or utopian, Dr. Shanahan’s many articles and forthcoming book on Léger interpret his robotic figures from the 1920s as a means of suppressing grief and regulating feeling in order to serve the larger social goals of reconstruction.  Other machine modernisms of the era imagine impenetrable virile bodies that overcome the frailties of the organic body. Similar manifestations appear, she believes, in contemporary U.S. culture in our militarized superheroes. In a recent JMU exhibition and other scholarship, her research has expanded the inquiry about the trauma of the war to the study of French colonial soldiers and veterans, especially from North Africa. Represented in propaganda and documentary photography and film during and after the war, Africans became increasingly visible as soldiers and then workers in the Paris region and elsewhere in France. This visual culture shifts from wartime propaganda imagery and a discourse of fraternity to hierarchical and discriminatory racial practices and politics of social control. Another arena of research has been in the multiple modes of representation of Latin America’s great liberator, Simón Bolívar (1783-1830), who was a symbol of liberation for Léger during World War II. Dr. Shanahan’s co-edited book on Bolívar includes an international group of scholars who examine how Bolívar is both an iconic male hero and a sign whose meaning shifts according from one cultural context and era to another.
Her knowledge and analysis apply to larger themes of war, trauma, survival and resilience that are relevant to many cultural examples throughout the twentieth century and to our era. Drawing upon her depth of knowledge in trauma studies and the arts, her seminar classes have considered how Holocaust studies have expanded our understanding of historical trauma and its impact on successive generations, the conception of “founding trauma” that can forge group identity, the uses of symbolic reparations and truth and reconciliation commissions (e.g. South Africa, Chile) or lack thereof (e.g. U.S. re slavery or settler colonialism), the possibilities and limits of visual culture in representing traumatic events, the ways nation-states have or have not recognized their role in state-sanctioned terrorism or genocide (e.g. colonialism) that contradict and undermine republican values, and paradoxical cultural practices that want to honor veterans while simultaneously diminishing processes of brutalization and war’s damage to dominant forms of masculinity. Throughout, her classes explore a wide range of visual culture, from monuments, museums and memorials to vanguard artistic practices to popular culture.
Dr. Shanahan earned a bachelor's degree in French and political science at Duke University, a law degree at Loyola Law School, Los Angeles, a master's degree in art history at University of Michigan, Ann Arbor and a doctorate in art history at University of Michigan, Ann Arbor