University of Mississippi

Archives for July 2012

Jere Allen

Faculty Emeritus

MFA, University of Tennessee, Knoxville

BFA, Ringling School of Art



An internationally known artist whose work is best described as figurative, he concerns himself with the representation of political and social realities. He is included in Who’s Who in American Art and studied on a Group Studies Fulbright Grant in Costa Rica, Central America, received the 1993 Visual Art Award of the Mississippi Institute of Arts and Letters, and an Individual Artist Fellowship from the Mississippi Arts Commission.

His most recent exhibition is a one person show at the Contemporary Art Center of Peoria, Illinois. In October, 2004, he will exhibit during the “Art for Art Sake” weekend at the Carol Robinson Gallery in New Orleans. He also exhibited in Outward Bound: American Art on the Brink of the 21st Century. The exhibition is now traveling to Bejing and Shanghi, China; Hanoi and Ho Chi Minh City, Vietnam; Jakarta, Indonesia; and Singapore.

His resume includes a number of solo exhibits at such notable institutes and galleries as the Meridian International Center, Washington, D.C.; Stadtsche Galerie Paderborn, Paderborn, Germany; Der Kunstkreis Hameln, Germany; Oldenburger Kunstverein, Oldenburg, Germany; National Academy of Sciences, Washington, D.C.; S/R Gallery, Beverly Hills, California; and Carol Robinson Gallery, New Orleans, Louisiana. His work has been shown in 35 states including exhibits inthe Smithsonian Institution Traveling Exhibition Service (1979-1981); Images 84, Louisiana World Exposition, New Orleans, Louisiana; American Drawings II, Portsmouth Community Arts Center, Portsmouth, Virginia; WEST 79 and 80 / Art and Law, Minnesota Museum of Art, St. Paul, Minnesota; and 36th Annual Exhibition of Contemporary American Painting, Society of the Four Arts, Palm Beach, Florida.

Allen’s work hangs in such permanent collections as Coos Art Museum, Coos Bay, Oregon; City of Hameln, Germany; Huntsville Museum of Alabama and Robert I. Kahn Gallery of the Temple Emanu El in Houston, Texas. He is represented by Carol Robinson Gallery at 840 Napoleon Blvd, New Orleans, Louisiana 70115.

Seth Thibodaux

Instructor & Sculpture Technician in Art

MFA, University of Mississippi
BFA, Nicholls State University

To view Seth’s work, please visit the Department of Art & Art History’s Flickr page.

Dr. Betty Crouther

Photograph by Robert Jordan

Associate Professor of Art
Art History

PhD, University of Missouri-Columbia
MFA, The University of Mississippi
BS, Jackson State University


Betty J. Crouther holds a bachelor’s degree in art education from Jackson State University, Mississippi, a Master of Fine Arts degree from The University of Mississippi, and the Ph.D. in art history from the University of Missouri. She has taught at Lincoln University, Jefferson City, Missouri, Jackson State University, Mississippi, and is currently Associate Professor at the University of Mississippi. Dr. Crouther teaches courses in the history of art covering chronological periods in early modern, African, and American art history. She has published articles in the International Review of African American Art, SECAC Review, and MUSE that focus primarily on iconography and African American art. She has chaired and co-chaired sessions and presented papers at the Southeastern College Art Association and the College Art Association conferences, James A. Porter Colloquium and American Visions Symposium. Dr. Crouther has attended professional development seminars in India, Ghana, and New York City. In 1994 she received the Excellence in Teaching Award from the Southeastern College Art Conference.

Dr. Edward Sisson

Faculty Emeritus

Meso-American Art & Art History

Ph.D Harvard University
MA, University of North Carolina at Chapel Hill
BA, The University of Mississippi 



As a graduate student at the University of North Carolina, Chapel Hill and Harvard University, I conducted research on the Maya at Palenque, Chiapas and on the Olmec in the Western Chontalpa, Tabasco. Prior to returning to the University of Mississippi, my undergraduate institution; I was engaged in teaching and contract archaeology at the University of Utah and Curator at the R.S. Peabody Foundation in Andover, Massachusetts. As Curator my primary responsibility was research on the Late Postclassic Period in the Tehuacan Valley, Puebla, Mexico. I also taught an introductory anthropology course for the high school students at Phillips Academy and took them on trips of discovery to Mexico. At the University of Utah, my primary responsibility was overseeing contract archaeological research. Currently I teach introductory courses in anthropology for lower division undergraduates and upper division courses on the Maya, Aztec, and Mesoamerican Art History. I consider the latter my area of special expertise. I enjoy teaching the former because I believe it important for undergraduates to be exposed to the rational, diverse cultural practices of other peoples with world views different from their own. I hope that the experience will challenge them to critically examine their own values and assumptions about the world.

My research focuses on the Late Postclassic Period in the Tehuacan Valley, Puebla, Mexico and the local consequences of that valley’s incorporation into the Aztec Empire and subsequently into New Spain.

Robert Malone

Adjunct Assistant Professor in Art
Drawing, Figure Drawing

MFA, Memphis College of Art
BFA, The University of Mississippi






Serving on The University of Mississippi faculty since 1997 as an Adjunct Assistant Professor, Robert Malone has taught beginning through advanced painting and drawing. Previous teaching experience includes three years as an adjunct at Middle Tennessee State University, teacher seminars, and Art League Workshops. Mr. Malone is a working artist who depends on his painting to provide the majority of his income. He brings life lessons to the classroom, with a strong traditional foundation and an open contemporary viewpoint.

His landscape paintings in oil capture the sublimity of nature; each canvas reveals the inherent spiritual reality of the beautiful world in which we exist. He has exhibited at the Nicole-Perry Gallery, Memphis,TN.; Carol Robinson Gallery, New Orleans LA; Yeiser Museum, Paducah, KY; Meridian Museum of Art, Meridian, MS; Brooks Museum, Memphis, TN; Allen Price Gallery, University of Wisconsin; University of Melbourne, Australia. His work is in the corporate collections of AT&T, Ochsner Clinic, and the National Bank of Commerce. He has work in many private collections throughout the United States including New York, NY; Los Angeles, CA; Washington, DC;  Memphis, TN; Nashville, TN; Atlanta, GA; New Orleans, LA; Winter Park, FL; and Jackson, MS.

“I view my position as a teacher in the role of a guide that knows the journey of the creative process, and who helps each student find his or her path in that journey. Civilization is based on the culture of art in one form or another, and each human being has a contribution to make to that culture.”

Lance Herrington

Adjunct Instructor & Instructor and
Coordinator of Instructional
Support for the ESL Program
Art History

MA, University of Mississippi
BA, University of Texas



Lance Herrington was the Art Department’s Visual Resources Curator and Instructor of Art History, before he became an Adjunct Instructor of Art History when he joined the faculty of the Intensive English Program at UM in January 2007.  He earned his B.A. in Art History from the University of Texas, a M.A. in Art History and a second M.A. in Teaching English as a Second Language (TESL) from the University of Mississippi.  He previously lived in Osaka, Japan, where he taught English, and traveled extensively throughout Japan. Since returning to Oxford, he has led groups of Ole Miss students to Japan for Art on Location courses.  In the Art Department, he regularly taught Introduction to Western Art and the online versions of History of Art I and History of Art II, and co-taught Art on Location: New York during Intersessions.  Since 2007, he has taught a section of Introduction to Non-Western Art, and Egyptian Art and Architecture, and offered a travel version of History of Art II.  Currently, he developed and teaches the Independent Study version of History of Art I.  After a faculty-exchange in Ecuador during Summer 2010, his most recent interests include the colonial Quito School and the 20th-century painter Oswaldo Guayasamín.

Sherry Donaldson

Adjunct Instructor, Tupelo Campus
Art Education

Bill Beckwith

Faculty Emeritus


MFA, The University of Mississippi 
BFA, The University of Mississippi




William N. Beckwith was born in Greenville, MS in 1952. In 1966 at the age of fourteen he became an apprentice in the studio of Leon Z. Koury. Mr. Koury had studied with Malvina Hoffman in New York who had studied with Auguste Rodin in Paris.

From 1970 to 1976 Mr. Beckwith attended the University of Mississippi earning a B.F.A. and a M.F.A. in sculpture under the direction of Mr. Charles M. Gross. He built a working bronze foundry and received a Graduate Teaching Assistantship in sculpture from 1974-1976.

Beckwith owned and operated Vulcan Studios & Foundry, Mississippi’s first commercial, fine arts, bronze foundry from 1976-1986. While casting for other sculptors he continued to produce gallery work, commissions and show his bronzes in numerous one man and group show including the Frank Marino Gallery and Splashlight Studios in New York, the Louisiana World’s Fair in New Orleans and at the National Museum of American Art, Smithsonian Institution, Washington, D.C.

Public commissions by Beckwith include life-size or larger monuments of Elvis Presley, B.B. King, William Faulkner, Mr. George Merrick- founder of Coral Gables, FL, Mr. Earl Wilson- founder of Mississippi Methodist Rehabilitation Hospital, Mr. L.Q.C. Lamar, Jefferson Davis, Chief Piomingo– Chickasaw. His “Flagbearer for the Mississippi 11th” was the last monument to be installed at the Gettysburg National Military Park in Gettysburg, PA.

Beckwith’s portrait busts include Jim Henson, Eudora Welty, Tennessee Williams, Richard Wright, Herman Melville, Congressman Jamie Whitten, Governor William Waller, Mr. Thomas M. Purvis, founder of Purvis, MS, Al Key- aviator, Mr. Stewart Brumfield- Chairman of the Board State Bank & Trust Co., Dr. Manard Quimby, and Dr. Tom and Carol McGee.

William Beckwith’s work in included in private collections throughout the nation as well as fifteen permanent collections including the Mississippi Museum of Art. He has been a guest speaker at the Lauren Rogers Museum of Art, The Mississippi Museum of Art, E.E. Bass Cultural Center, and featured as the keynote speaker at the Mississippi Art Educator’s Association. His teaching experience includes Beginning, Intermediate and Advanced Sculpture, Advanced Head Modeling, Figure Drawing, Perspective Drawing, Beginning Drawing, and 3-D Design.

He is included in the publications: “The Sculpture Reference” and “Sculpture: Technique, Form, Content” both by Arthur Williams, “The Mississippi Story” by Patti Carr Black, “Casting Call” by Hank Burdine, and “More than Land or Sky: Art from Appalachia” National Museum of Art, Smithsonian Press.

Beckwith currently lives with his wife and son in Taylor, Mississippi where he operates a sculpture studio and produces portrait commissions, public monuments and personal work. A new 9,850 square foot studio is currently under construction.


Please see:
— The Sculpture Reference, Illustrated, by Arthur Williams, 2005

— Art in Mississippi – 1720 -1980, by Patti Carr Black, 1998

— Sculpture: Technique, Form, Content by Arthur Williams, 1989


Brooke White

Chair, Professor of Art
Imaging Arts

MFA, Cornell University
BFA, Alfred University




Brooke White is both a practicing artist and an educator who specializes in fine art photography. White has exhibited her photographs and videos nationally and internationally including the Hammer Museum in Los Angeles, the Bemis Center for Contemporary Arts in Omaha, NE, MASSMoCA and the DiVA Art Fair in New York, Paris and Berlin. Much of her work, both photographic and video, is created while traveling in areas such as East Africa, South East Asia, South America and the deep south of the United States.

White’s work analyzes the ways in which disease, tourism, agriculture and politics effect our connection to the landscape. Most recently White has been photographing in Central Asia looking at the ways that globalization effects our connection to place and the landscape. White’s work combines cutting edge digital strategies found in the most contemporary photography today with traditional imaging techniques used in black and white photography.

Over the years White has received several grants and residencies, which have helped her pursue her artwork in various parts of the world. Most recently she was the recipient of a Fulbright Senior Research Scholar in Bangalore, India where she was a Visiting Artist at the Center for Experimental Media at the Srishti School of Art, Design and Technology.

As an educator White teaches traditional Black and White photography, digital photography, digital video, alternative photographic processes and large format digital printing at the graduate and undergraduate level. In the classroom White encourages a cross-disciplinary approach to art making that combines traditional analog techniques with the newest digital strategies. White is concerned with bringing together practice, concept and context and through thematically based project students gain an understanding of the past, present and future of lens based image making.


Dr. Nancy Wicker

Professor of Art History
Medieval Art History and Archaeology

MA, PhD, University of Minnesota
BA, Eastern Illinois University


My interdisciplinary research focuses on the art of Scandinavia during the Early Medieval Period, from the Migration Period of the 5th and 6th centuries through the Viking Age, c. mid-8th through the end of the 12th century. Here are various projects in which I’ve been involved:

Finding the Vikings in Viking art: National Humanities Center Fellow

The study of Viking-Age art has been dominated by formalistic investigation of abstracted animal-style art, but I focus on the roles of people in Viking-Age art. While I was on sabbatical during the 2016–2017 academic year, I was a Fellow at the National Humanities Center at Research Triangle, North Carolina. As a Fellow, I had the opportunity to investigate patrons and clients who sponsored or purchased the art, artists and artisans who made the works, men and women who used and viewed the objects, and also the humans and anthropomorphic deities who were the subjects depicted in Viking-Age art. I am working on a book on this topic.

Project Andvari: supported by the NEH

I am co-director of Project Andvari, an international collaborative project to create a free digital portal that will provide online integrated access to dispersed collections of early medieval artifacts (4th–12th centuries). With funding support from a Digital Humanities Start-Up Grant, Level II, from the National Endowment for the Humanities (HD-248511), we are producing a pilot platform that will feature initial data sets from The British Museum, the Swedish National Heritage Board’s Kringla database, and Norwich Castle Museum.

Broken bracteates: collaboration with UMMC

With a colleague at the University of Mississippi Medical Center who researches material failures, I am studying damaged Migration Period gold pendants called bracteates to determine which ones show breakage due to metal fatigue and which ones were damaged as the result of violence. To examine damaged metal objects, I made impressions of torn surfaces of gold jewelry in the Swedish History Museum in Stockholm, Sweden, using polyvinyl siloxane (PVS)—the blue and pink material that dentists use to make impressions of teeth. Then the impressions are examined using an electron microscope to view breakage at micro-levels.

From Rome to Scandinavia: Getty Foundation Seminar

From 2011 through 2013, I participated in the Getty Foundation Seminar, “The Arts of Rome’s Provinces” in England, in Greece, and at the Getty Center in Malibu. My focus was on the reception of Roman art in Scandinavia during the Early Medieval Period. I examined how Late Roman medallions inspired bracteates, which were worn by elite women across northern Europe.

Other areas of interest

In the past, I have collaborated with contemporary smiths and jewelers to reconstruct early medieval jewelry techniques, and I excavated at the Viking Age site of Birka in Sweden. I have also published on gender in archaeology, female infanticide during the Viking Age, and runic literacy. I have co-edited three books on gender and archaeology, including Situating Gender in European Archaeologies (Budapest: Archaeolingua, 2010).


Recent publications

“Scandinavian Migration Period Gold Bracteates” (updated), in “Medieval Studies,” edited by Paul E. Szarmach. Oxford Bibliographies. New York: Oxford University Press, 2018-05-24. (17,000-word bibliographic essay). DOI: 10.1093/OBO/9780195396584-0107

“Decolonizing Gold Bracteates: From Late Roman Medallions to Scandinavian Migration Period Pendants,” in Postcolonising the Medieval Image, edited by Eva Frojmovic and Catherine Karkov. London: Routledge, 2017, pp. 17–36.

“The Reception of Figurative Art beyond the Frontier: Scandinavian Encounters with Roman Numismatic Imagery,” in Rome and the Worlds Beyond Roman Frontiers: The Eleventh Workshop of the International Network Impact of Empire, edited by Danielle Slootjes and Michael Peachin. Impact of Empire 21. Leiden: Brill, 2016, pp. 243–256.

“Women in the Roman Iron Age (A.D. 0–400) in Scandinavia,” pp. in Women in Antiquity: Real Women Across the Ancient World, edited by Stephanie Lynn Budin and Jean MacIntosh Turfa. Rewriting Antiquity. London: Routledge, 2016, pp. 1027–1036.

“Roman Medallions in Scandinavia: Shifting Contexts of Space, Time, and Meaning,” in Beyond Boundaries: Connecting Visual Cultures in the Roman Provinces, edited by Susan Alcock, Mariana Egri, and James F. D. Frakes. Los Angeles: Getty Publications, 2016, pp. 232–247.


Recent reviews

Das Thorsberger Moor, vol. 4, Fund- und Forschungsgeschichte, naturwissenschaftliche und materialkundliche Untersuchungen, edited by Claus von Carnap-Bornheim. Schleswig: Schloß Gottorf, 2014. Bonner Jahrbücher 215, 2015, (2016): 533–536.

The Cruciform Brooch and Anglo-Saxon England, by Toby F. Martin. Woodbridge UK and Rochester NY, 2015. Speculum 91:4 (2016): 1138–1139.

Anglo-Saxon Graves and Grave Goods of the 6th and 7th Centuries AD: A Chronological Framework, by Alex Bayliss, John Hines, Karen Høilund Nielsen, Gerry McCormac and Christopher Scull, edited by Alex Bayliss and John Hines. The Society for Medieval Archaeology Monograph 33. London: The Society for Medieval Archaeology, 2013. The American Journal of Archaeology 120:1 (2016), DOI: 10.3764/ajaonline1201.Wicker


Selected recent and upcoming presentations

By invitation, I will present “Broken Edges: Investigating Jewelry Damage by Violence and Fatigue,” at a symposium organized by Robin Fleming and Patrick Fazioli at the Society for American Archaeology, Albuquerque, New Mexico, 10–14 April 2019

At the Sachsensymposion in September 2018, I presented a paper on “Change in Scandinavian Figural Imagery and Artistic Techniques from the Early to Late Iron Age.”

By invitation, I participated in a workshop on “The Scandinavian Casket at San Isidoro in the Context of Viking Art and Society,” in León, Spain, in September 2018.

In May 2018, I presented a paper on “Broken or Whole? The Condition of Migration Period Gold Bracteates,” for the Society for the Advancement of Scandinavian Studies at UCLA.

In February 2018, I gave a public presentation at Rice University on “Making and Using Early Medieval Jewelry: Scandinavian Gold Bracteates.”


Summary of honors, fellowships, and grants

I have been a Visiting Professor at Uppsala University and the first woman elected to foreign membership in the Philosophical-historical Section of the Royal Society of Humanities at Uppsala, Sweden. I am also the first (and only) American chosen for membership in the Sachsensymposion, an international archaeological society, and I am one of the very few Americans ever selected to present a paper at the Viking Congress.

My research has been supported by fellowships from the National Humanities Center, American Council of Learned Societies, the National Endowment for the Humanities, the Getty Foundation, the American-Scandinavian Foundation and the Samuel H. Kress Foundation, as well as grants from the American Philosophical Society, the American Numismatic Society, the International Research and Exchanges Board (IREX), the National Endowment for the Humanities, and several Scandinavian sources.


Service to professional societies

Currently, I serve on the Runic Advisory Group for the International Symposium on Runes and Runic Inscriptions, and I am on the Editorial Board of Gesta, the journal of the International Center of Medieval Art. I just completed a three-year term as Co-Chair of the international working party, Archaeology of Gender in Archaeology, I have previously served as an Associate Editor of the journal Medieval Archaeology (London), President of the Society of Historians of Scandinavia, on the Executive Council of The Medieval Academy of America and on the boards of the International Center of Medieval Art and the Society for the Advancement of Scandinavian Study.



I am teaching AH 332/532 Early Christian, Byzantine, and Islamic Art during the fall of 2018. In the spring of 2018, I will offer AH 334/AH534/Anth 332 Early Medieval Art and Archaeology. My 3xx/5xx courses are on a two-year rotation.

Courses at The University of Mississippi:
AH 101 Introduction to Art (not for art or art history majors)
AH 201 History of Art I (Honors section)
AH 332 Early Christian, Byzantine, and Islamic Art
AH 334 Early Medieval Art and Archaeology (cross-listed with Anth 332)
AH 336 Viking Art and Archaeology (cross-listed with Anth 336)
AH 338 Romanesque and Gothic Art
AH 401 Research and Writing in Art

AH 408 Seminar in Art History

AH 508 Seminar in Art History (for graduate students)
AH 532 Early Christian, Byzantine, and Islamic Art (for graduate students)
AH 534 Early Medieval Art and Archaeology (for graduate students)
AH 536 Viking Art and Archaeology (for graduate students)
AH 538 Romanesque and Gothic Art (for graduate students)