Dr. David S. Efurd Associate Professor of Art History
B.F.A., Cornell University M.A., University of Georgia Ph.D., Ohio State University
Dr. Efurd teaches courses on Asian art and Islamic art. He holds a B.F.A. degree from Cornell University, an M.A. in art history from the University of Georgia, and a Ph.D. in history of art from the Ohio State University. With South Asia as his field of specialty, Efurd studies early Buddhist monasteries carved directly into the stone cliffs of western India. His research encompasses the interaction of peoples in the ancient western Deccan and the resulting artistic and architectural forms hewn from the living rock. A recipient of the Fulbright-Hays Award, Efurd has lived in India and traveled to many of the archaeological sites he teaches in his classes. His training in the arts informs his understanding of both ancient and contemporary artistic techniques.
Dr. Karen Goodchild Chapman Family Professor of Humanities (Art History) and Chair
B.A., University of Georgia M.A., Ph.D., University of Virginia
Karen Hope Goodchild is Chapman Professor and Chair of Art and Art History at Wofford College in Spartanburg, South Carolina. She has recently published articles on landscape theory, Giorgio Vasari, Piero di Cosimo, and Agnolo Bronzino, and her research has appeared in scholarly journals including Artibus et Historiae and Source, as well as in the Ashgate Research Companion to Giorgio Vasari (2016). She co-edited the volume Green Worlds in Early Modern Italy: Art and the Verdant Earth (Amsterdam University Press, 2019), which includes her essay “Naturalism and Antiquity, Redefined, in Vasari’s Verzure.” Her current work intersects with landscape and art theory, artist biography, literature, and gender. Goodchild teaches courses in Ancient and Classical art, Renaissance art, Gender in the Early Modern Period, surveys of African Art and pre-modern western art, and practice-based courses involving community engagement in the arts.
Dr. Peter Schmunk Mr. and Mrs. T. R. Garrison Professor of the Humanities (Art History)
B.Mus., University of Washington M.Mus., Ph.D., Ohio University
A native of the Pacific Northwest, Professor Peter Schmunk holds B.A. and B.Mus. degrees from the University of Washington and the M.Mus. and Ph.D. in comparative arts from Ohio University. Now In his fourth decade as a professor of art history at Wofford, he teaches courses on nineteenth-century, Baroque, and Medieval art, on the history of architecture, and on art historiography. His interdisciplinary research on the influence of musical culture on nineteenth-century painting has produced articles on Van Gogh, Corot, Whistler, and Redon, and a book, The Arts Entwined: Music and Painting in the Nineteenth Century. He was recently a keynote speaker in Lucca, Italy, at a conference on “Music and the Figurative Arts in the Nineteenth Century.” An avid hiker, backpacker, and cultural traveler, Professor Schmunk has an active studio practice in photography and has exhibited his work at several college galleries and at the Spartanburg Art Museum. He will present a retrospective exhibition at the Richardson Art Museum at Wofford in the spring of 2020. Schmunk has led Wofford students on twenty-two travel-study projects during the January Interim term and will do so again in January 2020 with a focus on the syncretic cultures of Portugal, southern Spain, and Morocco. His photography website may be found at cultureandlandscape.com.
Jessica Scott-Felder Assistant Professor of Studio Art
B.A., Spelman College M.F.A., Georgia State University
Jessica Scott-Felder is a visual and performance artist from Atlanta, Georgia. She is an Assistant Professor and Studio Coordinator of Studio Art and teaches Drawing, Design, Figure Drawing, Painting, Printmaking and in the Department of Art and Art History at Wofford College located in Spartanburg, South Carolina. She completed her undergraduate studies in Studio Art from Spelman College, an MFA in Drawing, Painting and Printmaking from Georgia State University and studied experimental printmaking at the Santa Reparata School of Art in Florence, Italy.
Jessica’s latest performance art piece, Adornment was featured in the group exhibition "Africa Forecast," at the Spelman College Museum of Fine Art in Atlanta and also featured in the 2017 edition of the Emergency Index, a nationally distributed performance art catalog. She was the 2017 featured visiting artist at Ithaca College in New York where she presented her artistic research on “Black Matter”, an installation based on Black Hole physics, American folklore, Afrofuturism and imagination. Her drawings have been featured in nationally and internationally recognized spaces such as the A.I.R Gallery in New York and the Telfair Museum in Savannah, Ga. Her work is featured in private and corporate collections in Spartanburg, Cambridge, New York, New Jersey and the Four Seasons Hotel in Atlanta.
Dr. Miriam Thomas Arts Administrator and Adjunct Professor of Theatre
B.A., Wofford College M.A., University of South Carolina Ph.D., Bowling Green State University
Miriam Hahn Thomas serves as the Arts Administrator for the Rosalind Sallenger Richardson Center for the Arts, assisting with arts programming, publicity, and more for the Department of Art & Art History, the Department of Theatre, and the Richardson Family Art Museum and Gallery. She is also an Adjunct Professor in the Theatre Department, most regularly teaching Introduction to Theatre and The Art of Acting. Other teaching interests include theatre history and theory, dramaturgy, modern and contemporary drama, and cultural diversity in performance. A 2006 Wofford graduate, she earned her Ph.D. in Theatre from Bowling Green State University in 2014, and has since held Visiting Assistant Professor positions at Kennesaw State University and Ball State University. As a theatre historian, her work is broadly centered on indigenous American representation, the intersections between place and memory, and performative constructions of American identity, with particular regard to the mythic ideal of the American West.
Thomas has most recently published in Ecumenica: Journal of Theatre and Performance, and she presents regularly at the Mid-America Theatre Conference, the American Society for Theatre Research, and the International Congress of Qualitative Inquiry. Recent directorial credits include Kara Hartzler’s No Roosters in the Desert and Melinda Lopez’s Sonia Flew. Production dramaturgy credits include Sonia Flew, Michael Frayn’s Copenhagen, and Ellen McLaughlin’s Iphigenia and Other Daughters.
B.F.A., Cooper Union School of Art, Cooper Union M.F.A., Yale School of Art, Yale University
Mariya “Masha” Vlasova is an interdisciplinary artist, working in video, installation, photography and text. In the studio, her guiding methodologies include close reading, rehearsal, performance for the camera, and translation. Her photographs, sculptures, and films have been exhibited and screened at Smack Mellon, Anthology Archives, Abrons Arts Center, the Border Project Gallery in New York City, Vox Populi in Philadelphia, San Diego Underground Film Festival in California, LLAWN Festival in Llandudno, Wales, Leeds College, UK, and Carpenter Center for the Visual Arts at Harvard University, among others. She has been invited to speak about her work at The University of North Carolina at Chapel Hill, University of Tennessee at Knoxville, and Ludwig-Maximilians Unversitat in Munich, Germany, among others. Her curatorial projects, such as Women Filmmakers at the Intersection of Documentary, Video Art, and Avant Garde for Indiana University Cinema in collaboration with Center of Documentary Research and Practice and video NOW NOW NOW in collaboration with Sarah Lasley and Directed by Women highlight international perspectives on place, memory, and gender.
Vlasova has been a recipient of the Alice Kimball Fellowship, the JUNCTURE Art and Human Rights Fellowship, Research Fellowship at the Beinecke Rare Book and Manuscript Library at Yale University, and Fulbright Fellowship in Filmmaking. The latter resulted in a multi-disciplinary project “Monuments and Other Things that Change.” An essay based on the research was published by Rowman & Littlefield in the collection titled Monument Culture: International Perspectives on the Future of Monuments in a Changing World. Most recently, as a summer resident in the PlySpace Program, she has been developing an experimental documentary about yard art and lawn sculptures in Muncie, Indiana.
Prior to joining Wofford College, Vlasova taught at Indiana University at Bloomington, University of North Texas at Denton, and at the Summer Art Intensive Pre-College Program at the Cooper Union in New York City.
B.F.A., East Carolina University M.F.A., School of the Art Institute of Chicago
Michael Webster is an artist whose work investigates the social organization of space. The output from his work takes the form of interventions, installations, and objects, often responding to existing sites. He has completed site-specific projects in Chicago, IL, Moorestown, NJ, Greenville, NC and Talca, Chile, and has participated in residencies at Hambidge Center, Elsewhere Museum, and Penland School of Craft. Recent exhibitions include Locust Projects, Miami, Paradice Palase, Brooklyn, Wiregrass Museum of Art, AL, and the 701 Center for Contemporary Art, Columbia, SC. At Wofford, Prof. Webster teaches beginning and advanced courses in sculpture, installation art, and 3D digital fabrication.
Dr. Gillian Young Assistant Professor of Art History
B.A. Brown University M.A. New York University Ph.D. Columbia University
Gillian Young is Assistant Professor of Art History at Wofford College, where she teaches art historiography and the second half of the introductory survey of Western Art, as well as specialized classes on modern and contemporary art and interdisciplinary courses in the humanities.
Dr. Young’s research focuses on the interwoven history of art and technology from the nineteenth century to the present, with an emphasis on performance. Her current book project examines the key role of the American artist Joan Jonas in the entwined emergence of video and performance art in the 1970s. This research has received support from Columbia University, the Henry Luce Foundation/American Council of Learned Societies, the Getty Research Institute, and the Pierre and Tana Matisse Foundation.