acknowledgments
As with any project that has taken over ten years
to complete, mine requires an extensive list of ac-
knowledgments and thanks. My interest in Mexi-
can art and museum studies began at the Uni-
versity of Illinois at Urbana- Champaign, where I
earned my master’s and PhD. I am indebted to the
teaching and support I received from the entire
art history faculty during my eight years of gradu-
ate study. My advisor Jonathan Fineberg nur-
tured my intellectual development, challenged
me to improve my writing, and stuck with me as
my dissertation topic veered away from his areas
of expertise. His mentorship (which combined
absolute intellectual and financial support with
tough love) allowed me to slowly find my way be-
tween disciplines and fields of study. The hybrid
nature of this book testifies to the freedom I was
given as his advisee. Likewise, I must thank the
two other dedicated members of my dissertation
committee: Katherine Manthorne and Cameron
McCarthy. It was Katherine Manthorne who
introduced the study of Latin American art into
the curriculum at the University of Illinois. With-
out her teaching and advising, I would not have
pursued this topic. Cameron McCarthy came to
the dissertation project late, but was and has re-
mained deeply enthusiastic about my attempts to
bring Michel Foucault’s work on governmentality
into the realm of cultural studies.
In addition to my committee, several other
members of the faculty at the U of I were instru-
mental in my intellectual development. In par-
ticular, I would like to mention Charles Barber
and Michael Bérubé; both served at times as un-
official advisors and sounding boards for my work
on Mexican art and museology. Likewise, Janet
Lyon and James Hay were essential interlocutors
throughout my forays into critical theory. Joseph
Love, by admitting me into his graduate seminar
on historical research methods, introduced me
to Latin American historiography and taught me
how to conduct primary research. And finally, I
want to thank Larry Grossberg, whose approach
to cultural studies left an indelible mark on the
scholarship of all who passed through the pro-
gram during his time there, no one more than I.
While the intellectual culture developed and
sustained by the excellent faculty at the U of I
was essential to the development of my work on
Mexican muralism and museology, ultimately it
was an incredible cohort of fellow graduate stu-
dents who helped me to solidify my understand-
ing of Foucault and who offered encouragement
and solidarity as I cultivated an idiosyncratic
pathway between cultural studies and art his-
tory. I begin by thanking the many members of
the Foucault Reading Group, whose dedication to
extracurricular intellectual community remains a
highlight of my professional career. In particular,
Ted Bailey, Jack Bratich, Samantha King, Jeremy
Packer, and Craig Robertson were and continue
to be not only life- long friends, but also schol-
ars whose work I learn from and emulate. Chris
Camrath and Melissa Deem were also essential
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