Lisa Seppi

Department: Art
Rank: Associate Professor

Contact Info: lisa.seppi@oswego.edu
Office Hours: Wednesday 1:45-2:45 or by appointment

Education: 
PhD  2005 University of Illinois at Urbana-Champaign
MA  1994  Wayne State University, Detroit, Michigan
BS  1990  Eastern Michigan University

Specialization:
European & American Modern and Contemporary Art History; Native American Art History

Publications:
The Artist in Italy: Desire, the Body and the Divine, in Kay WalkingStick: An American Artist, Smithsonian Institution, National Museum of the American Indian, Washington D.C., 2015.

Postmodern Allegory in Native American Painting,‚in Double Desire: Transcultural and Indigenous Contemporary Art, ed. Ian McLean, UK: Cambridge Scholars Publishing, 2014.  

Cherokee, ‚Five Civilized Tribes,Fort Laramie Treaty of 1868, ‚ÄúGreat Plains Tribes, Great Sioux War, Mohawk,Oneida‚ Pan-Indianism, Seneca Sioux, and Trail of Tears,in Multicultural America: A Multimedia Encyclopedia, Carlos E. Cortes and Geoffrey J. Golson, eds., Thousand Oaks, CA: SAGE Publications, Inc., 2013.

Hannah Claus: In/ Tangible Presence.  Tyler Art Gallery and State University of New York, Oswego: New York, 2012.

Indigenous Activism: Art, Identity, and the Politics of the Quincentenary, in Beyerbach, Barb and Deborah Davis, eds.  Activist art in social justice pedagogy: engaging students in glocal issues through the arts, New York: Peter Lang Publishing, 2011.

Kathy Budd: Cultural Markers and Other Social Inscriptions‚ in Grief and Gratitude: A Celebration of Kathy Budd‚ Art, Tyler Art Gallery and State University of New York, Oswego: New York, 2011.

Beyond the Body: Metaphysics and Materiality in the Art of Kay WalkingStick.  Exhibition catalog for the Kendall Campus Art Gallery and Miami-Dade Community College, Miami: Florida, 1999.

Exhibition Catalog Review, Canadian Museum of Civilization,‚ÄúReservation X: the Power of Place in Aboriginal Contemporary Art.‚ American Anthropologist. 101, 4 (December 1999).

America‚ Pueblo Artists: Encounters on the Borderlands‚(co-authored with David W. Penney). In Native American Art in the Twentieth Century: Makers, Meanings, Histories, ed. W. Jackson Rushing III. London & New York: Routledge, 1999. 

Velino Shije Herrera, Fred Kabotie ‚ Albert Looking Elk, James Luna, Tonita Pena, Jaune Quick-to-See Smith‚Awa Tsireh ‚Pablita Velarde,‚Äù and ‚ÄúKay WalkingStick, in St. James Guide to Native North American Artists, ed. Roger Matuz. Detroit, New York, Toronto & London: St James Press, 1998.

"Not Just 'Our Corner' of the World: reevaluating the feminine, the decorative and the Indigenous legacy in Western modernism," Native American Art Studies Association Conference, Santa Fe, New Mexico (October 2015).

Jeffrey Gibson’s Nomadic Modernism: intersections of indigenous, urban, and queer visualities,” Native American and Indigenous Studies Association Conference, Washington D.C. (June 2015).

The Art of Kay WalkingStick: Desire, the Body and the Divine,” Rebirth of Images Conference: A Global Dialogue on Spirituality and the Arts, Marsha Powell Festival of Religion and Arts at Virginia Commonwealth University (April 2015)

Jeffrey Gibson’s Nomadic Modernism: mediating indigenous, western, and global visual identity,” Borders and Contact Zones in the Americas, 13th Conference on the Americas at Grand Valley State University, Grand Rapids, Michigan (March 2015).

Virtual Beads: Real and Represented Beadwork as Cultural Signifier in Contemporary Haudenosaunee Art,” Native American & Indigenous Studies Association Conference, Austin, Texas, (May 2014).

Conferences/Presentations:
"Not Just 'Our Corner' of the World: reevaluating the feminine, the decorative and the Indigenous legacy in Western modernism," Native American Art Studies Association Conference, Santa Fe, New Mexico (October 2015).

Jeffrey Gibson’s Nomadic Modernism: intersections of indigenous, urban, and queer visualities,” Native American and Indigenous Studies Association Conference, Washington D.C. (June 2015).

The Art of Kay WalkingStick: Desire, the Body and the Divine, Rebirth of Images Conference: A Global Dialogue on Spirituality and the Arts, Marsha Powell Festival of Religion and Arts at Virginia Commonwealth University (April 2015)

Jeffrey Gibson’s Nomadic Modernism: mediating indigenous, western, and global visual identity, Borders and Contact Zones in the Americas, 13th Conference on the Americas at Grand Valley State University, Grand Rapids, Michigan (March 2015).

Virtual Beads: Real and Represented Beadwork as Cultural Signifier in Contemporary Haudenosaunee Art,” Native American & Indigenous Studies Association Conference, Austin, Texas, (May 2014).

Postmodern Allegorists: 21st Century Native American/American Painting,” College Art Association Conference, New York, New York, (February 2013).

Hannah Claus, Shelly Niro, and Marie Watt: revising gendered markers for a new 21st century Haudenosaunee artistic identity,‚Äù  Mid-American College Art Association Conference, Detroit, Michigan, (October 2012).

Essential Difference? Or Situational Essence?  The Genealogy of Land, Abstraction, and Spirituality in the Art of Kay WalkingStick,‚Äù  Essentially Indigenous?  Contemporary Native Arts Symposium, National Museum of the American Indian, New York, NY, (May 2011).

The Indigenous Activism of Kay WalkingStick: Art, Identity and the Politics of the Quincentenary,” National Women’s Studies Association Conference, Atlanta, Georgia, (November 2011, presented in absentia).

Virtual Beads: Real and Represented Beadwork as Cultural Signifier in Contemporary Haudenosaunee Art,” Native American Studies Art Association biennial conference, Ottawa, Canada, (October 2011).

Professional Affiliates:
Association of American Art Historians
College Art Association
Native American Art Studies Association
Native American and Indigenous Studies Association

Additional Info:
Serves as Art History Subject Editor for the American Journal of Undergraduate Research.