My teaching situates art within wider social, cultural, and political histories. My goal is to get at what certain moments looked or felt like while holding view of their resonance now. Art History should not only cultivate empathy and curiosity, it should also challenge students to approach problems and questions from multiple directions and in ways that are honest about the messiness of the world we live in.
locationPolk Museum of Art, Second Floor, Education Wing
Phone 863.688.7743 x232
Dr. Carter received her Ph.D in Art History and Theory from the University of British Columbia (UBC) and her B.A. in Art History with a minor in Studio Art from DePaul University. Before joining Florida Southern as an Assistant Professor, she taught Modern and Contemporary art history at UBC and Emily Carr University of Art and Design.
Dr. Carter is a specialist in Modern and Contemporary art history, with a particular focus on American art in the 1960s and 1970s. Her research interests include modes of viewership, participation, subject formation, and institutional critique with an emphasis on post-1968 artistic praxis and pedagogy. Dr. Carter has presented and published on a range of topics, including Performance, Body Art, and Dance, histories of art and pedagogy in the early 1970s in the U.S., Europe, and Latin America, and the changing relationship between art and politics circa 1968. Her current research project examines histories of experimental art education in California in the early 1970s, and alongside new definitions of political contestation following student revolt.
University of British Columbia, Ph.D. Art History and Theory, 2019
DePaul University, B.A., Art History; Studio Minor, 2009
Christopher Foundation Graduate Research Grant, UBC, 2016
Library Research Grant, The Getty Research Institute, Los Angeles, California, 2014
Killam Graduate Teaching Award, UBC, 2014
International Tuition Award, UBC, 2012-2019
Go Global International Learning Award, UBC, 2011
Faculty of Arts Graduate Award, UBC, 2010-2016
International Partial Tuition Scholarship, UBC, 2010-2012
Graduate Entrance Scholarship, UBC, 2010
Conferences, Talks, and Sessions Chaired
“Toxic Coercions: Masculinity and the Intimate Violence of Body Art,” Association for Art History Conference (AAH), Newcastle, U.K., April 1-3, 2020.
“Wayward Student Bodies: Countercultural Praxis, Dance Notation, and Critical Pedagogy at the University of Iowa, circa 1970,” College Art Association (CAA) Annual Conference, New York City, February 13-16, 2019.
“What Do We Do Now: Art and Politics circa 1970 and Now,” College Art Association Annual Conference, Los Angeles, February 21-24, 2018. Co-chair with Serge Guilbaut.
“‘The Senses Pointing to a New Transformation’: The Politics of Touch and The 1st International Tactile Symposium, 1969,” College Art Association (CAA) Annual Conference, New York City, February 15-18, 2017.
“Art and Student Revolt: Classrooms in Times of Crisis,” Universities Art Association of Canada/l’association d’art des universités du Canada, Banff, AB, October 12-15, 2017
“Neither Here nor There: Hans Breder, Liminality, and Intermedia at the University of Iowa,” Southeastern College Art Conference, Pittsburgh, PA, October 21-24, 2015.
“Selfish Representation: Individualism vs. Critical Individuality in a Time of Restoration, 1969-1974,” Midwest Art History Society, St. Louis, MO, April 3-5, 2014.
“All Tied Up: Lygia Clark and Cultural Development in post-1968 France.” Crisis! Concordia University, Montreal, QC, March 22-23, 2013.
“Informed Excess: Consumption, the Body and Mark Making in Steve McQueen’s Hunger,” (Re)Activating Objects: Social Theory and Material Culture, University of Western Ontario, March 1-3, 2013.
“Lygia Clark and the Logics of Participation after ‘Failed’ Revolt,” Excursions. Vol. 7, No. 1 (summer 2017): 91-104. [peer reviewed]
--------. Reprinted with Introduction in Excursions: Commemorative Issue. (spring 2020), forthcoming. [peer reviewed; featured as one of the journal’s best articles in last decade]
“Neither Here nor There,” essay written for the exhibition catalogue accompanying As Seen Here (Vancouver: Morris and Helen Belkin Art Gallery, 2013).
“See Artist for Title,” exhibition essay accompanying See Artist for Title (Vancouver: AMS Gallery, University of British Columbia, 2013).
“Making Sense of our Paranoia with Deb Sokolow,” in Jettison Quarterly. Vol. 2, No. 2 (summer 2010): 76-87.
“Bleached,” in Jettison Quarterly. Vol. 2, No. 1 (spring 2010): 15-18.