School of Humanities and Sciences
Showing 1-38 of 38 Results
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Kennii Ekundayo
Ph.D. Student in Art History, admitted Autumn 2024
BioKehinde “Kennii” Ekundayo is an independent curator specializing in global contemporary art. Since 2017, she has curated exhibitions in her home country, Nigeria, and internationally, working with artists, institutions, and collections alike to realize highly publicized projects. Of particular note is "Idi Owena," a 63-year-spanning retrospective exhibition on Bruce Onobrakpeya’s artistry at the San Diego State University Gallery in Spring '22.
Ekundayo's current research is focused on the responses of under-represented and/or understudied artists to issues of conflict, forced migration, and environmentalism--three subjects which have proven critical to shaping the course of the millennium. Her research is particularly directed at (the activities of) refugee artists who have resettled in the United States since 1990 to date, delineating their contributions to contemporary art theory. She is also interested in the evolution of artistic processes over time, exploring artistic interpretations of human connections, and examining relationships between art and place.
Her MA thesis titled, “Retelling the Story of Place: Aestheticizing the Double Jeopardy of Flooding in Brazil and Nigeria” is a comparative analysis of artistic interventions to the flood disasters in Brazil and Nigeria. Her writings have appeared across exhibition catalogs and academic publication. -
Enam Gbewonyo
Master of Fine Arts Student, Art Practice
BioEnam Gbewonyo is a British-Ghanian textile and performance artist, curator, and founder of the BBFA (Black British Female Artist) Collective - now defunct. Her art practice investigates identity – Black womanhood in particular, whilst advocating the healing benefits of craft. She uses performance as a vessel, creating live spaces of healing that direct audiences to a positive place of awareness, countering systems of oppression such as racism and sexism. Her work enables audiences to face the truth of the dark past surrounding colonial legacies and the emotions it brings forth.
Recent exhibitions include Memoria: récits d’une Histoire at Fondation H, Madagascar, Neo-Custodians: Woven Narratives of Heritage, Cultural Memory and Belonging at Bemis Center in Omaha, USA, DELLU her first institutional solo show at New Art Exchange, Nottingham, UK, Body Poetics at Southampton’s GIANT Gallery, and Rites of Passage at Gagosian London. Her work has been exhibited and showcased internationally at the 58th Venice Biennale, Art X Lagos, and UNTITLED Art Fair, Miami. Her performance films have been selected for notable film festivals including; Portland Dance Film Festival, Aesthetica Short Film Festival, Alchemy Film & Moving Image Festival and AVIFF Cannes Art Film Festival.
Gbewonyo’s works are in private and public collections including Fondation H, Madagascar and White & Case LLP, UK. She is a 2022 recipient of the Henry Moore Foundation Artist Award and winner of the 2022 Dentons Art Prize and New Art Exchange Future Exhibition Prize respectively. She is also a fellow of Black Rock Senegal, Bemis Center, (Omaha, USA) and Fondation H, Madagascar artist residencies. -
Christina Hiromi Hobbs
Ph.D. Student in Art History, admitted Autumn 2022
Ph.D. Minor, Comparative Studies in Race and EthnicityBioChristina Hiromi Hobbs is an independent curator, writer, and art historian based in the Bay Area.
She is a PhD candidate in Art History at Stanford University with a minor in Comparative Studies in Race and Ethnicity whose work focuses on twentieth century American art, modern and contemporary art of the Asian diaspora, and the history of photography. They are particularly interested in the intimacies of history, racial formation and historical memory, and vernacular archival practices.
Her recent projects include curating the exhibitions "In the Presence Of: Collective Histories of the Asian American Women Artists Association" at Berkeley Art Center (2024) and "Reflections of a Young Woman: Photographs from the Archive of Shigeko Kumamoto" at Latitude Chicago (2024). She also co-curated "No Monument: In the Wake of the Japanese American Incarceration" at the Noguchi Museum in Queens, New York (2022) which was featured in Artforum, Momus, Hyperallergic, The Guardian, and Public Seminar.
They have held research and curatorial positions at the Museum of Contemporary Art, Los Angeles, Modern Art Museum of Shanghai, Black Mountain College Museum + Arts Center, and The Renate, Hans and Maria Hofmann Trust. Her scholarship has been supported by the Helen Frankenthaler Foundation. -
Elisa Leiva Anderson
Master of Fine Arts Student, Documentary Film and Video
BioElisa is a filmmaker from Santiago, Chile. She is the editor of Towards the Sun, Far from the Center (Berlinale, 2024), the producer and editor of Ripear un Desierto (Nemaf Korea, 2023), and the director of VIEWS (FicValdivia, 2015). She works with archival footage and digital technologies to reflect on displacement, image-making, and the multi-stranded connections—both personal and political—between Chile and the United States.
Her films have screened at the New York Film Festival (NYFF), Hong Kong International Film Festival (HKIFF), FIDOCS (Santiago International Film Festival), among others, and have been awarded by the Human Rights Institute of Chile.
In addition to her filmmaking, she has taught short film distribution at the Universidad Católica de Chile, served as Head of International Relations at CinemaChile for five years, and curated short film programs at the Uppsala Film Festival (Sweden) and the Matta Cultural Center (Argentina). -
Quyen Nguyen-Hoang
Ph.D. Student in Art History, admitted Autumn 2022
BioQuyên Nguyễn-Hoàng is a writer and translator born in Hà Nội.
Her recent translations include the English translation of Chronicles of a Village, a novel by Nguyễn Thanh Hiện (Yale University Press 2024), and the Vietnamese translation of Samuel Caleb Wee’s poetry collection https://everything.is/ (AJAR Press 2024).
While a curator at Sàn Art, she wrote Masked Force (2022), a bilingual book of war photographs by Võ An Khánh. Her poems, essays, and translations have appeared in Poetry, Jacket2, Modern Poetry in Translation and other venues. -
Aatika Singh
Ph.D. Student in Art History, admitted Autumn 2023
Ph.D. Minor, Comparative Studies in Race and EthnicityCurrent Research and Scholarly InterestsCaste Studies, Art History & Cultural Studies, Race Studies and Modernism
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Dejan Vasic
Ph.D. Student in Art History, admitted Autumn 2023
BioDejan Vasić is an art historian and curator of late modern and contemporary art and moving image media. He specializes in the transnational avant-garde and conceptual art, concentrating primarily on performance, video art, photography, and artists’ films and media works. His research intersects art, power, war, and everyday life, with methodological grounding in historical materialism, memory politics, decolonial, gender and feminist theory, and affirmation of critical thinking as a public good. Dejan is passionate about the history of exhibitions, museology and curatorial practice; he is invested in writings in the first person, and frequently collaborates with artists who battle social, economic and political problems.
Prior to coming to Stanford, Vasić had over a decade of experience in Serbia and the Yugoslav region, where he engaged in radical curatorial practices and critical writing that delves into the politics and ethics of aesthetics. Since 2012, he is a member of the International Association of Art Critics AICA and has served on the Program Advisory Board of AICA-Serbia (2020-2023). Dejan curated visual arts program at the Center for Cultural Decontamination in Belgrade (2017-2023), co-edited the Beton - Cultural Propaganda Kit (2018-2023), was part of the Four Faces of Omarska Working Group (2010-2015), the Culture of Memory curatorial platform (2010-2014) and Kontekst Collective (2009-2013).
