CURRICULUM VITAE (PDF)
(first name: "Kyle", he/him, they/them)
My teaching and research are dedicated to investigating how marginalized bodies have been made to appear throughout the history of art, especially those of transgender, queer, and disabled people. Titled Deep Cuts: Transgender History in US-American Art since WWII, my forthcoming book charts a history of gender variance, transsexuality, and transgender history in US-American art from the mid-twentieth century onward. Each chapter is a distinct case study of an individual artist who has been part of some of the most recognized movements and moments in modern and contemporary art in the United States. The dissertation from which this project emerges was supported by: a 2020-2021 Smithsonian American Art Museum Predoctoral Fellowship; a 2019-2020 Luce/ACLS Dissertation Fellowship in American Art; a library fellowship from the Getty Research Institute; the Don Kelly Research Fellowship at the Cushing Library at Texas A&M University; Stanford's Diversity Dissertation Research Opportunity Fellowship; and a graduate fellowship with Stanford's Center for Ethics and Society.
I entered the field of art history through studio art, studying interdisciplinary art as an undergraduate at Bennington College (BA, 2008) and as a graduate student in the Mount Royal School of Art at the Maryland Institute College of Art (MICA - MFA, 2010). As a lecturer at George Mason University, Towson University, and other colleges in the Baltimore/DC area from 2011 to 2013, I found that I became especially alive not just by teaching how to make art but by discussing with students why art is so culturally potent and historically important. To strengthen my ability to facilitate these conversations, I returned to graduate school to pursue art history, first in 2013 as an MA student at the University of California, Riverside, then as a PhD student at Stanford University in 2015. I finished my doctoral degree in 2021. I also became a permanent member of the faculty in the art department at Bradley University later that year. In my role at Bradley I oversee the art history curriculum, teach courses ranging from introductory surveys to special topics courses, as well as coordinate exhibitions in the campus art galleries.
Knowledge gained through personal experience has driven me to focus my teaching and research on identifying, describing, and investigating how and to what end marginalized people are made to appear in works of art and visual materials. Being a transgender person in the United States has given me the opportunity to see how current and historic power structures have shaped the experiences of women and gender variant people in the US and, to some extent, beyond. As a sibling of a disabled person, I have also gained intimate knowledge of the effects of ableism as it manifests linguistically, in the physical world, and through institutional structures. Additionally, I have worked to support myself through school and borrowed a dizzying amount of money to pursue my education. As a result, I am deeply committed to addressing works of art and visual materials that activate a range of class experiences, empathetic to the financial difficulties many students face in pursuing education, and invested in making institutions of higher education accessible to people in challenging socioeconomic positions.