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Chessa Adsit-Morris is a curriculum theorist and member of the Center for Creative Ecologies. She is currently pursuing a PhD in Visual Studies at the University of California, Santa Cruz, USA.
MA/ Ph.D. Candidate
contemporary visual culture, Latin-American graphic art and protest, moving-image installation, viewer/ artwork dynamics, poststructuralism, visual semiotics
New Media Art, The History of Art and Technology, Curating Media & The Politics of Production
Indigeneity, diasporas and cross-cultural encounters in the Indian Ocean; textile, clothing and the body; colonial photography; settler/migrant visual cultures
Intangible/tangle heritage, software studies, virtual heritage, digital preservation, and globalization
Visual culture in colonial South America (the Andes): textiles and other visual objects; concepts of landscape, territory, claim to land; conflict, contrast, confluence and things inbetween in colonial encounter
Art Activism and Contemporary Culture
PhD Candidate, Visual Studies
Visual Cultures of the Autonomous Americas and Colonial Latin America
After working in Beirut and studying in Toronto, Sintia Issa joined HAVC as a PhD student to research the visual culture of waste from the eastern Mediterranean.
South Korean contemporary art and culture in regard to gender, sexuality, and the body.
Contemporary Art from Africa and its Diasporas
Ph.D. Student, History of Art and Visual Culture , MFA, Fine Art , www.Ace-Lehner.com
Contemporary Art and Visual Culture, Contemporary Photography, Queer and Trans Theory, Gender Theory, Video and Performance, collaborative practices, Critical Issues in Art Practice, Identity and Representation, Critical Race Studies..
Colonial visual culture and anthropology and theories of empire focused in the Andes both before and after Spanish contact.
Colonial Peru, the Andes, soundscapes, the sensorium, the (non)material, the aniconic
PhD Candidate, Visual Studies, Curatorial Fellow in African and Indigenous American Arts, Cantor Arts Center, Stanford University
African visual culture; Museum representations of Africa; Sierra Leone; African performative arts; Senegalese gold jewelry; African colonial postcards
built environment, public spaces, US and European social and political history, landscape design, schools, architecture, text and design, critical theory, urban spaces, murals, public art
Contemporary art, social practice and collaborative art, postcolonial theory, African urban space and visual culture.
Identity and representation, contemporary African Diasporic art, black visual culture, popular culture, contemporary photography, social practices, performance, critical pleasure studies, and contemporary black life.
Visual culture and the environment, documentary, landscape, trauma, museums/memorials
Photography and Whiteness in American Visual Culture
Contemporary Art, 20th-21st Centuries Latin American and Brazilian art, Latin American and Brazilian Visual Culture.
Visual lexicons; cultural memory, cosmopolitanism, and identity formation; post-Holocaust art; temporal/spatial relations.
Institutional and individual elements in photographic multivalence and histories of photographic reception: current focus on quotidian photography books in postwar Japan, Germany and Austria; recent work in receptions of official and commercial photography in colonial-to-postcolonial Vietnam and France
North American environmental imaginary and Whiteness, landscape studies, environmental aesthetics, digital networks and visual culture
Contemporary visual culture, political and activist art, intersectionalities of social identities and systems in contemporary art practice.
Material and visual cultures of Oceania, environment and ecology, Indigenous media, Native American material and visual culture, settler colonial history
South Asian Visual Cultures and religion, anthropological engagements with the sacred via European colonialism, Sanskrit poetics and aesthetics
Modern and Contemporary Art, Asian Diasporic Art, Globalization, Postcolonialism, Memory and Trauma Studies