African and African Disapora Studies Department
African and African Disapora Studies Department

Cherise Smith


ProfessorPh.D., Art History, Stanford University

Professor of African and African Diaspora Studies, Executive Director of Art Galleries at Black Studies
Cherise Smith

Contact

  • Phone: 512-471-8043
  • Office: GWB 3.124
  • Office Hours: On leave for the 2021-2022 academic year
  • Campus Mail Code: E3400

Interests


American Art After 1945; The Intersection of Art with Race and Gender; African American Art and Visual Culture; Performance and Conceptual Art Practices; History of Photography; Politics of Identity

Biography


Cherise Smith is the Joseph D. Jamail Chair in African American Studies in the Department African & African Diaspora Studies at the University of Texas at Austin where she is affiliated with Art History.  Her research centers on African American art, the history of photography, performance, and contemporary art. Smith completed the Ph.D. at Stanford University where she worked with Drs. Wanda Corn and Pamela Lee.

This year, Smith is an inaugural residential Scholar of the African American Art Research Initiative at the Getty Research Institute. Her project, titled Healing Old Wounds, explores how the contemporary artists Carrie Mae Weems, Charles Gaines, Rodney McMillian, and Cauleen Smith use appropriation and conceptualism to explore traumatic events from the American past.  

She is the author of Michael Ray Charles: Studies in Blackness (University of Texas Press, 2020) which won the Charles C. Eldredge Prize for Distinguished Scholarship in American Art from the Smithsonian American Art Museum. The book places the artist’s work in the context of the 1990s, the rise in collecting of Black “memorabilia,” the challenges posed by art censorship, and Pop art among other historical trends.

Her book, Enacting Others: Politics of Identity in Eleanor Antin, Nikki S. Lee, Adrian Piper, and Anna Deavere Smith (Duke University Press, 2011), examines how identity is negotiated in performance art in which women artists take-on the characteristics and manners of a racial, ethnic, and gender “other.” She has published essays in Art Journal, American Art, and exposure among other venues. 

Currently, she is Executive Director of the Art Galleries at Black Studies where she spearheads Black Studies’ Art and Archive Initiative which seeks to expand UT’s holdings of art and material collections relating to people of African descent and increase its exhibition spaces.  Under its auspices, she created two exhibition spaces—the Idea Lab and the Christian-Green Gallery—, and she has shepherded in donations of art by Norman Lewis, Romare Bearden, and Charles White among others.

Smith is privileged to serve on the editorial boards of American Art and Art Journal, and she is currently a member of the Advisory Board of the Archives of American Art Journal.  

Her research has been supported by the Getty Foundation, the Ford Foundation, and the W.E.B. Du Bois Institute for African American Research at Harvard University.  She has worked in the curatorial departments of the Art Institute of Chicago, the Metropolitan Museum of Art, and the Saint Louis Art Museum among other institutions. 

 

Courses


AFR 387D • Theories Of Art Identity

30805 • Fall 2018
Meets T 9:30AM-12:30PM CMA 3.108
(also listed as WGS 393)

Please check back for updates.

AFR 387D • Theories Of Art Identity

30480 • Spring 2017
Meets M 11:00AM-2:00PM GWB 1.130
(also listed as ARH 387, WGS 393)

This course historicizes the politics of identity in American art and culture by tracking its trajectory over the thirty-year period from 1970 to 2000.  Students will compare discourses that theorize identities as “real,” “authentic,” fixed, stable, and unchanging, to those that understand identities to be inauthentic, fluid, transitory, and ever-changing constructions.  Texts that fall under the rubrics of Feminism, Black Cultural Studies, Chicana/o and Mexican American Cultural Studies, Multiculturalism, and Queer Studies among others will be read to discern similarities and divergences.  Key events, ranging from the NEA controversy (1989) to The Decade Show (1991), the Los Angeles uprisings (1992) to the Whitney Biennial Exhibition of 1993, will also be studied.  Artists to be covered may include Robert Mapplethorpe, Adrian Piper, Eleanor Antin, Nikki S. Lee, Glenn Ligon, Kara Walker, Cindy Sherman, Chris Burden, Vito Acconci, James Luna, Guillermo Gomez-Peña, and Coco Fusco among others.

AFR 387D • Performing Race Am Art/Cul

29610 • Spring 2016
Meets T 9:00AM-12:00PM GWB 1.138
(also listed as AMS 391, ARH 393E)

The phenomenon of “passing”—in which a person consciously represents her/himself as something he or she is not—is the topic of this graduate seminar.  Different types of “passing” include the crossing of class boundaries, ethnic impersonation, and minstrelsy.  The emphasis of this course will be on representations of racial performance in visual art (Adrian Piper, Eleanor Antin, Anna Deveare Smith, Cindy Sherman), literature (Mark Twain’s Pudd’nhead Wilson, Nella Larsen’s Passing, Norman Mailer’s The White Negro), and films (Imitation of LifeMy Fair LadyBlade Runner).  Through texts from the 19th through 21st centuries, we will consider the various and shifting reasons why individuals have shed their own identities and donned new ones, and why the practice continues today. 

UGS 303 • Black Figure In Pop Culture

62510-62520 • Spring 2015
Meets TTH 11:00AM-12:30PM UTC 1.102

The Signature Course (UGS 302 and 303) introduces first-year students to the university’s academic community through the exploration of new interests. The Signature Course is your opportunity to engage in college-level thinking and learning.

AFR 372E • Black Art, Brown Art

30655 • Spring 2014
Meets TTH 12:30PM-2:00PM ART 1.120
CD (also listed as ARH 373E, MAS 374)

Black Art/Brown Art will focus on visual art made by contemporary African American, Mexican American and Latino artists.  Students will consider artists' relationships to issues of difference, including but not limited to gender, 'identity politics' and 'post-identity.' In addition, students will think about whether the artists engage in transnational dialogues with the cultures of their ancestors.  Attention will be paid to exhibitions, such as 'Phantom Sightings' and 'Freestyle', that seek to (re)define the parameters of contemporary 'ethnic' art.  We will study Rashid Johnson, Juan Capistran, Michael Ray Charles, Kara Walker, Pepon Osorio, Wanda Raimundi Ortiz, and Enrique Chagoya among other artists.

 

Texts (needs to be specific texts, not “course packet” or “TBA)”:

Sharon Patton, African American Art, NY:  Oxford, 1998

 

AFR 372E • Twentieth-Century Afr Amer Art

30328 • Spring 2013
Meets TTH 12:30PM-2:00PM GAR 1.126
CD (also listed as ARH 373E)

This course surveys art made by African American artists in the 20th century.  We will study painting, photography, and sculpture made in representational and abstract styles.  We will explore whether African American art is uniquely American and consider whether some “Africanisms” are retained.  We will examine the relationship between African American art and jazz during the Harlem Renaissance (1920s-1930s), African American art and protest during the Civil Rights era (1950s-1960s), and African American art and the politics of identity (1980s-1990s).  The course text will be Sharon Patton’s African-American Art; other texts will be available on reserve and in the course reader.

AFR 387D • Historicizing Polit Of Ident

30445 • Fall 2012
Meets M 9:00AM-12:00PM ART 3.432

Please check back for updates.

AFR 387D • Historicizing Polit Of Ident

30363 • Fall 2011
Meets M 9:00AM-12:00PM ART 3.432
(also listed as ARH 387)

(Cross listed as ARH 387)

Course Description: This course historicizes the politics of identity in American art by tracking its trajectory over the thirty-year period from 1970 to 2000.  Students will compare discourses that theorize identities as “real,” “authentic,” fixed, stable, and unchanging, to those that understand identities to be inauthentic, fluid, transitory, and ever-changing constructions.  Texts that fall under the rubrics of Feminism, Black Cultural Studies, Chicana/o and Mexican American Cultural Studies, Multiculturalism, and Queer Studies among others will be read to discern similarities and divergences.  Key events, ranging from the NEA controversy (1989) to The Decade Show (1991), the Los Angeles uprisings (1992) to the Whitney Biennial Exhibition of 1993, will also be studied.  Artists to be covered may include Robert Mapplethorpe, Adrian Piper, Eleanor Antin, Nikki S. Lee, Glenn Ligon, Kara Walker, Cindy Sherman, Chris Burden, Vito Acconci, James Luna, Guillermo Gomez-Peña, and Coco Fusco among others.

AFR 374F • 20th-Cen African American Art

35539 • Spring 2010
Meets TTH 9:30AM-11:00AM ART 1.120
(also listed as ARH 366N)

(Cross listed as ARH 366 N)

Course Description This course will survey visual art produced by people of African descent in the United States.  The emphasis will be on art made during the 20th century, but older and more recent art will also be studied.  Students will be introduced to a wide range of artistic production, including decorative arts, mixed media, painting, performance, photography, prints, textiles, sculpture, and video.  Through our readings and discussions, we will create a socio-historical framework for the interpretation and analysis of works of art.  We will examine changes in modes of expression, formal concerns, pictorial themes and the impact of the Black Arts Movement, Feminism, and Afrocentrism on art.  The course challenges students to examine the relationship of the work of black artists to art from West and Central Africa and the visual traditions of European and Euro-American artists.  Our underlying goal is to gain an understanding of the variety of art that is categorized under the heading “African American” and to consider how “race” is constructed through visual art.

AFR 374F • 20th-Cen African American Art

35310 • Spring 2007
Meets MWF 12:00PM-1:00PM DFA 2.204

Please check back for updates.

AFR 374F • 20th-Cen African American Art

34315 • Spring 2006
Meets MWF 12:00PM-1:00PM DFA 2.204

Please check back for updates.

Publications


“Looking Relations in a Charnay Photograph.” Fotophile, 46 (February, 2004), 16- 20.

http://inliquid.org/fotophile/46/index.html