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Kirstin Ringelberg

Professor of Art History
Powell House 104
2810 Campus Box
Elon, NC 27244
kringelberg@elon.edu (336) 278-5249

Education

PhD, University of North Carolina at Chapel Hill, Modern & Contemporary Art History, 2000
BA, Duke University, Political Science, 1988

Courses Taught

ARH 212: Revolt, Reform, Critique
ARH 301: Art History Methodologies
ARH 320: Issues in Contemporary Art
ARH 321: Issues in American Art: Race & Gender in N. American Art History
ARH 370: History of Photography
ARH 495: Senior Seminar in Art History
Honors Sophomore Seminar: To Be a Sex Object (co-taught with Ann Cahill, Philosophy)
Special Topics: Japan & The West; Site-Specific Installation Art; Architecture & Film
Study Abroad: Paris: Capital of Modernity; London (Re)Imagined; Gender & Sexuality in Renaissance Florence.
 

Leadership Positions

Coordinator, Art History Program
Coordinator, LGBTQ Office

Publications

Redefining Gender in American Impressionist Studio Paintings: Work Place/Domestic Space. Ashgate, 2010.

“The Faked Pain of the Artist: Chieh-Jen Chen and Yasumasa Morimura.”  Forthcoming in Representations of Pain, ed. James Elkins & Maria Pia di Bella.  Routledge, 2012.

 “’This Art’s Kind of a Girly Thing’: Art, Status, and Gender on The Sopranos and Northern Exposure” in Considering David Chase, ed., Thomas Fahy.  London: McFarland & Company, Inc., Publishers, 2007.

“The Paintings of Perin Mahler and Tim Fisher” in Larger than Life, exhibition catalogue.  Edinboro, PA: Bruce Gallery Press, Edinboro University of Pennsylvania, 2007.

“’You have to develop an eye for it’: Anti-Aesthetic Art as Beauty in Alan Ball’s Vision” in Considering Alan Ball: Essays on Sexuality, Death, and the American Dream, ed. Thomas Fahy.  London: McFarland & Company, Inc., Publishers, 2006.

"Horace Bristol," "Robert Capa," and "Arthur Rothstein" in The John Steinbeck Encyclopaedia, Ed. Michael Meyer and Brian Railsback, Westport, CT: Greenwood Publishing Group, 2006.

“His Girl Friday (and Every Day): Sorkin’s Brilliant Women Put to Poor Use” in Considering Aaron Sorkin: Essays on the Politics, Poetics and Sleight of Hand in the Films and Television Series, ed. Thomas Fahy.  London: McFarland & Company, Inc., Publishers, 2005.

"Joan Mitchell" and "Betty Parsons" in Notable American Women: A Biographical Dictionary, ed. Susan Ware, Cambridge: Harvard University Press, 2004.

"No Room of One's Own: Mary Fairchild MacMonnies Low, Berthe Morisot, and The Awakening."  Prospects: An Annual of American Cultural Studies, Cambridge University Press, Vol. 28, Winter 2003.

Book Review, Man Made: Thomas Eakins and the Construction of Gilded Age Manhood, Martin A. Berger, in Men and Masculinities, ed. Michael Kimmel, Vol. 5, No. 2, October 2002.

“Ann Tanksley” and “Hughie Lee-Smith” in Celebration and Vision: the Hewitt Collection of African American Art, Charlotte, North Carolina: Bank of America Corporation, 1999.

Presentations

“Little Sister, Big Girl: Tabaimo and the Gendering of Japanese Contemporary Art.” Association for Asian Studies Conference, Toronto, Canada. March 18, 2012.

“Cel-Culture: The Hybrid Intersections of Art, Video Games, and Manga.”  Panel co-chair, College Art Association Conference. February 2011.

“A Floating World Indeed: Ukiyo-e in Contemporary Culture.”  Southeastern College Art Conference. October 2010.

“Global But Not Binary: Questions of Pedagogy in Cultural Histories.” Globalisms Division panel, Cultural Studies Association Conference. May 24, 2008.

Panel moderator, “Feminist Art”, Visual Culture Division panel, Cultural Studies Association Conference (by invitation). May 24, 2008.

“Henry James and the Beautiful Collector.” Long Island University, March 27, 2008. 

“Not So Cute: Kawaii as Critique in the Art of Chinatsu Ban, Yoshitomo Nara, and Tabaimo.”  Delivered February 21, 2008, at the College Art Association Conference.

“Architecture’s Narratives: Spaces and the Stories They Tell.”  Panel coordinator, Southeastern College Art Conference, Vanderbilt University, Nashville, TN.  October 26, 2006.

“Factory/Memory/Spectacle: Why the Avant Garde Can’t Give Up.”  Delivered April 20, 2006 at the Cultural Studies Association Conference, Washington, DC.

“Reframing the Shot: Yasumasa Morimura's Slaughter Cabinet II and Eddie Adams’ General Loan Executing Nguyen Van Lem.”  Delivered February 19, 2004 at the College Art Association Conference, Seattle.

"Rendering Invisible by Display: Obfuscation and Misdirection in Representations of Late Nineteenth-Century American Women."  Delivered March 13-16, 2002 at the American Culture Association/Popular Culture Association annual conference. 

"Commodifying Frida Kahlo: Appropriative Myths in Popular Culture and Identity Politics."  Delivered October 20, 2001 at the Congress of the Americas, Puebla, Mexico.

"Gendered Attributions: Mary Fairchild MacMonnies Low's Dans la Nursery."  Delivered September 25, 2001 at the Terra Museum of American Art, Chicago, Illinois.

“The Artist’s Home Work: Class Constructions in the Late Nineteenth-Century Studio.”  Delivered April 17, 1998 at Interdisciplinary Nineteenth-Century Studies Conference, New Orleans, Louisiana.

 

“The Artist’s Studio as a Domestic Interior in Late Nineteenth-Century Painting.”  Delivered February 11, 1997 at College Art Association Conference, New York.

“Venus/Vamp: Gender Tropes in Twin Peaks.”  Delivered January 26, 1995 at Annual Conference on Literature and Film, Florida State University, Tallahassee.

Awards

Elon College Excellence in Teaching Award, 2008.

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