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Published: Oct 3, 2014 2:10:33 PM
Published: Sep 18, 2014 11:13:43 AM
Published: Jul 31, 2014 8:57:55 AM
Dr Stephanie Schwartz
19th and 20th Century Photography and Photographic Theory, American Visual Culture, Postcolonial Theory, Media Theory, Contemporary Cuban Art
Stephanie Schwartz teaches American Art, with a focus on the history of photography and visual technologies. Before joining the faculty at UCL, Stephanie was the Andrew W. Mellon Postdoctoral Fellow in the History and Theory of Photography at Bryn Mawr College (2007-2009) and the Research Forum Postdoctoral Fellow at the Courtauld Institute of Art. (2009-2010). She received her Ph.D. from Columbia University in 2007.
Stephanie is currently completing Cuba Per Diem: Walker Evans In and Out of Time, a book-length study of Walker Evans’s 1933 Cuba portfolio. Offering the first comprehensive study of Evans’s work in Cuba, the book situates the development of photographic modernism at the center of the politics of Cuba’s Americanization. A historical study redressing the absence of critical thinking about the relationship between modernist photography and imperialism, Cuba Per Diem also finds footing in contemporary geopolitics. Evans’s photographs serve to historicize current debates about how—after a hiatus of fifty years—to finally Americanize Cuba. Her research on Walker Evans has developed into a related study of on documentary film and the work of Paul Strand.
Stephanie’s interest in media and politics frames her second research project, a study of contemporary Cuban art and media. This project investigates the resurgence of documentary practices in Cuba following the political and social upheavals of the 1990s. In particular, she is interested in exploring the ways in which contemporary Cuban artists address the role mass media played in the organization of the Revolution of 1959.
'Is This What Democracy Looks Like? Tania Bruguera and the Politics of Performance,' in The Companion to Modern and Contemporary Latin American and Latino Art , forthcoming.
'Another Walker Evans: Photography, Writing and the Magazine Page,' an interview with David Campany, in Krakow Photomonth Festival (Krakow, 2014), 36-65. (Reprinted in Photography & Culture 7. no. 2 (July 2014): 189-198.)
'This Ain't The Swiss Family Robinson,' Photoworks 20 (October 2013): 146-153.
'Paul Strand's Living Labor,' ARTMargins 2, no. 3 (October 2013): 3-30.
'Our Future,' a review of Steve Edwards, Martha Rosler: The Bowery in two inadequate descriptive systems , Art Journal 72, no. (Summer 2013): 124-126.
'Between Labour and Intellect: Jorge Ribalta's Anonymous Work,' Philosophy of Photography 3, no. 2 (2013): 358-365.
"Tania Bruguera: Between Histories,' Oxford Art Journal 35, no. 2 (June 2012): 215-232.
'Documentary's Future Past: A Conversation with Jorge Ribalta,' Photoworks 18 (May 2012): 50-57. (Reprinted in Spanish in Luna Córnea 34 (2013): 324-339.)
'Chronicles: A Conversation with Manuel Piña,' Third Text 110 (May 2011): 361-383.
'Beyond Looking,' a review of Exposed: Voyeurism, Surveillance and the Camera, edited by Sandra Phillips and Jonathan Finn, Capturing the Criminal: From Mug Shot to Surveillance Society, Oxford Art Journal 33, no. 3 (November 2010): 389-92.
'Pictures, Again,' a review of Words without Pictures, edited by Charlotte Cotton and Alex Klein, Art Journal 68, no. 4 (Winter 2009): 87-9.
"Retracing America: Modernism After Paul Strand," co-organized with Barnaby Haran with generous support from the Terra Foundation for American Art, UCL, March 8-9, 2013. For more information, please visit Retracing America or www.retracingamerica.co.uk
An edited volume on Strand and American photography in the 1930s is forthcoming from Oxford Art Journal in 2015.
A list of publications is available from UCL's Institutional Research Information Service via the Iris link below.