Dr. Susan Cooksey is the Curator of African Art. She manages one of the largest collections of African art in the Southeast, with works dating from 5th century B.C.E. to the 21st century. Her doctoral research was on the arts of divination in southwestern Burkina Faso, and she continues to conduct research about arts in Burkina Faso and other areas of West Africa, as well as contemporary African artists residing in Africa, Europe and the U.S.
Cooksey has curated a number of original exhibitions, including Kongo across the Waters (2014, a collaboration with the Royal Museum for Central Africa, Tervuren, Belgium); Africa Interweave: Textile Diasporas (2011); A Sense of Place: African Interiors (2009); Between the Beads: Reading African Beadwork (2008); African Arts of Healing and Divination (2007); Resonance and Inspiration: New Works of Magdalene Odundo (2006); and Sense, Style, Presence: African Arts of Personal Adornment (2004). Some of her publications are: Kongo across the Waters (2014 co-edited with Robin Poynor and Hein Vanhee); “Double Images in Win Divination and the Negotiation of Spirit-Human Identities,” in Twins in African and Diasporan Culture; and “Collection at the Crossroads: New Direction for the Harn Museum of Art’s African Collection,” in Collections: A Journal for Museum Professionals.
She is a member of the Arts Council of the African Studies Association, the African Studies Association, and she is an advisory board member for the African Studies Quarterly Journal, and the advisory board for the Center for African Studies, University of Florida. Cooksey received her M.F.A. in painting from the University of South Florida in 1985, and her M.A. in art history at the University of Florida in 1997. She earned her doctorate in art history, specializing inAfrican art, from the University of Iowa in 2004. Cooksey is currently on the editorial board of African Arts Journal.
Mary Ann Eaverly received her A.B. in Classical and Near Eastern Archaeology from Bryn Mawr College and her PhD in Classical Art and Archaeology from the University of Michigan and was the Vanderpool Fellow at the American School of Classical Studies in Athens. The author of Archaic Greek Equestrian Sculpture (University of Michigan Press 1995) and Tan Men/Pale Women: Color and Gender in Archaic Greece and Egypt, a Comparative Approach (University of Michigan Press 2013), she focuses primarily on issues of iconography in early Greek Art. She is also interested in the use of mythological and archaeological imagery in the work of women poets, especially H.D. and has co-authored several articles on this topic with Marsha Bryant (UF English Dept.), including most recently “Excavating H.D.’s Egypt” in Approaches to Teaching H.D.’s Poetry and Prose (MLA 2011). Her current research project is a study of the iconography of the female nude in Archaic Greek art.
The winner of several University Teaching awards she has taught in UF study-abroad programs in Rome and Paris and has served as Associate Chair and Chair of the Classics Department. She has excavated in Greece, Israel, Cyprus, and Spain and is currently president of the Gainesville society of the Archaeological Institute of America.
Carol McCusker is currently the Curator of Photography. For nine years, she was the Curator of Photography at the Museum of Photographic Arts, San Diego, where she curated more than thirty-five exhibitions. She was also an Adjunct Professor at the University of San Diego and the University of California San Diego.
McCusker received her B.F.A. in studio art and art history at Massachusetts College of Art, Boston. She then received an M.A. and Ph.D. in art history with an emphasis on the history of photography at the University of New Mexico, Albuquerque. In 2009, she was invited to curate at the Lishui Photo Festival in China where her exhibition of photographs by L.A. photographer, Stephen Berkman, won the festival’s First Prize. Along with Peter MacGill and Chris Boot, she was 2010 Juror for the International Center of Photography Infinity Award/New York. McCusker has received the Beaumont Newhall Award, the Dean’s Dissertation Fellowship Award, and two National Endowment for the Arts Awards.
Some of her essays and exhibitions include American Noir: The Photographs of James Fee (book & exhibition, 2003); Phil Stern: A Life's Work (powerhouse, 2003); Andrea Modica: Treadwell/Fountain (2005); Terry Falke: Observations in an Occupied Wilderness (Chronicle Books, 2006); “Depth Charge,” Communication Arts (2006); Breaking the Frame: Pioneering Women in Photojournalism (book & exhibition, 2006); Public Privacy: Wendy Richmond’s Surreptitious Cellphone (2007); Jennifer Karady: In Country – Soldiers’ Stories from Iraq & Afghanistan (book & exhibition, 2010); and “The Emperor’s River: Philipp Scholz Rittermann Along China’s Grand Canal,” Public Culture: Duke University (2012).
Susan Milbrath is Curator of Latin American Art and Archaeology at the Florida Museum of Natural History at the University of Florida. She received her Ph.D. from Columbia University in Art History and Archaeology, and has been awarded numerous grants for exhibitions and curatorial projects, and is currently working on an NEH-funded grant for on-line access to the Cerros collection of Maya artifacts recently transferred to the Florida Museum of Natural History. She also teaches courses in the Anthropology Department at the University of Florida, where she is an affiliate Professor of Anthropology. Her recent research focuses on the Postclassic codices and the archaeology and ethnohistory of Mayapan, the last Maya capital in Mexico, studying the interface between the archaeological data and the historical records of the early colonial period.
She is also exploring the chronology and symbolism of Mayapan effigy censers in archaeological context, and examining the iconography in relation to deities represented in the Maya codices. Her research also involves comparative imagery that links Central Mexico and the Maya area, focusing especially on mural painting and codices. Her book Heaven and Earth in Ancient Mexico: Astronomy and Seasonal Cycles in the Codex Borgia, published by University of Texas Press in 2013, focuses on a unique narrative recorded in this ancient Central Mexican codex. Another of her books, Star Gods of the Maya: Astronomy in Art, Folklore, and Calendars, also published with the University of Texas Press, has remained in print for more than 15 years. She continues to conduct research Mesoamerican astronomical imagery in a broader context, and her most recent book is an edited volume with Anne Dowd entitled Cosmology, Calendars, and Horizon-based Astronomy in Ancient Mesoamerica, published by University Press of Colorado) in 2015.
Dulce María Román is Chief Curator and Curator of Modern Art at the Samuel P. Harn Museum of Art, University of Florida. She is responsible for the development and management of the Harn’s Modern Collection of art from the United States, Latin America, and Europe. The collection includes paintings, works on paper, sculptures and glass spanning the mid-19th century through the first half of the 20th century. She also oversees the Prints and Drawings before 1850 Collection which includes works from the late Middle Ages through the mid-19th century and represents artists from Europe and the United States.
Since joining the Harn staff in 2001 she has curated more than twenty-five exhibitions and coordinated more than 15 loaned exhibitions. Her latest exhibition project, Monet and American Impressionism, opened in February 2015 and traveled to the Hunter Museum of American Art in Chattanooga, TN, and Telfair Museums in Savannah, GA. Her exhibition and collection publications include Monet and American Impressionism (exh. cat., 2015); “Modern Art Collection” in Samuel P. Harn Museum of Art at Twenty Years (2010); American Selections from the Samuel P. Harn Museum of Art (2009), co-authored with Kerry Oliver-Smith and Thomas W. Southall; Paradigms and the Unexpected: Modern and Contemporary Art from the Shey Collection (exh. cat., 2008), co-curated with Kerry Oliver-Smith; and Santos: Contemporary Devotional Folk Art in Puerto Rico (exh. cat., 2003).
Before coming to the Harn Museum, she served as a researcher of Spanish art at the Frick Collection and in the department of European paintings at the Metropolitan Museum of Art. She holds a B.A. in psychology from Harvard University, and M.A. and M.Phil. degrees in art history from Columbia University.
Kerry Oliver-Smith is the Curator of Contemporary Art. She oversees international collection of more than fifteen hundred works, in all media, from 1945 to the present. Oliver-Smith’s research interests focus on the juncture of art and politics, with an emphasis on photographic and video practice.
She has organized more than thirty exhibitions. Select exhibitions include Art, Media and Material Witness: Contemporary Art from the Harn Collection (2009); Momentum: Contemporary Art from the Harn Collection (2008); Vision/Revision: Contemporary Art from the Harn Collection (2007); Allan Sekula: TITANIC’s Wake (2004-5); German Legacies: The Photography of Andrea Robbins and Max Becher, Sergio Vega (2002); Modernismo Tropical (2002); and Insistent Memory: The Architecture of Time in Video Installation (2000). Exhibitions accompanied by catalogues in include Project Europa: Imagining the (Im)Possible (2010); Paradigms and the Unexpected: Modern and Contemporary Art from the Shey Collection (2008); Contemporary Cuban Art from the Farber Collection (2007); and The Swamp: On the Edge of Eden (2000). She also contributed to the collection catalogue “American Selections from the Samuel P. Harn Museum of Art.”
Oliver-Smith has received several research grants from the University of Florida and has served on numerous panels and committees, including the National Endowment for the Arts and Art Museum Curators Association. Prior to her current appointment, she served as the Harn Museum Curator of Education. Oliver-Smith holds a master’s degree in film and media studies.
Eric Segal is Director of Education and Curator of Academic Programs. He earned his BA in Art History from the University of California, Berkeley and MA and PhD degrees in American Art History from the University of California, Los Angeles. He is responsible for designing Harn programs that engage faculty and students at the University of Florida, Santa Fe College and other area colleges. In this capacity he works with students and student groups directly. He also works extensively with faculty to incorporate museum resources into the curriculum of all disciplines.
As Director of Education, Segal leads a remarkable staff of educators who develop innovative and sustainable programs supporting learning for diverse audiences, including preK-12 students, families and children and diverse community members.
Prior to assuming his current position at the Harn in 2010, he taught Art History at UF, including undergraduate and graduate courses in the history of American and African American art, illustration, and museum history and theory. He has published on nineteenth and twentieth century American art and illustration, and he lectures nationally and internationally at museums and universities on American art and museum education.