1900” (Birkbeck Centre for Nineteenth-Century Studies/Centre for Nineteenth-Century Studies, Durham University, 2021) and “The American West / A French Appropriation” (Institut national d’histoire de l’art, 2016). She has also organized conferences and symposia, including “Belatedness-Modernity-Coloniality” (University of Oxford, 2021) “Race, Gender and Intermedia Art Practice in Transnational Paris, c. With David Peters Corbett, she has organized a series of events for the 2022-23 academic year entitled “Belatedness and North American Art,” to take place online and in person at the Courtauld Institute of Art. The discursive history deconstructs period-specific constructions of innocence to interpret the paradox and cultural import of projecting a society as innocent. artists’ colony and tourist travel in Paris to argue that Americans abroad enhanced a mythology that claimed cultural innocence in response to European expectations. Art and Culture in fin-de-siècle Paris, analyzes artists’ letters and journals, alongside visual and material culture mingling painting, magazine and book illustrations, pottery, furniture, cultural performances, architectural spaces, and sculpture of the U.S. Her current book project, Performing Innocence: U.S. She is a co-editor for Panorama’s Research Notes section. impressionism in Arts Archives of American Art Journal Nka Journal of Contemporary African Art Nineteenth-Century Art Worldwide Panorama Journal of Association of the Historians of American Art Sculpture Journal, as well as in edited volumes and exhibition catalogues. art in Paris, the circulation of Lakȟóta performers and art, U.S. Rudy Price, Routledge, 2021), as well as co-editor for an issue of Transatlantica on the American West in France (with Agathe Cabau, 2019).

She is author of Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018) and co-editor of Mapping Impressionist Painting in Transnational Contexts (with Alice M. and Native American artists, as well as dialogues between French, U.S., and Native American artists. At OU, she teaches courses on American art and the art of the American West.īurns is a scholar of the transnational nineteenth century, with an interdisciplinary research practice that analyzes artists and works of art moving through space and between cultures, with a focus on relationships between U.S. in Art History and Archaeology from Washington University in St. in Art History and Theory from the George Washington University, and a Ph.D.

in Art History from Union College, an M.A. Russell Center for the Study of Art of the American West and an Associate Professor of Art History in the School of Visual Arts at the University of Oklahoma.

Art by emily