Andrea Lepage

Education

• Brown University
  • May 2008 - Ph.D. in History of Art and Architecture
    Dissertation title: “The Arts of the Franciscan Colegio de San Andrés in Quito: A Process of Cultural Reformation"
  • May 2001 - M.A. in History of Art and Architecture
    Qualifying Paper: “Myth of South American Liberator, Simón Bolívar"
• Clark University
  • May 1998 - B.A. cum laude, with highest honors in Art History
    Honors Thesis: “Colonial Hybrid Art and Architecture of the Americas"

Research

Prof. Lepage specializes in visual art produced by US Latina/o/x artists who investigate themes of memory, forgetting, and loss in relation to Mexican American, and, more broadly, US Latina/o/x culture and history. Her recent scholarship focuses on community muralism, themes of racialized violence in art history, and the objects of cultural memory. Her research has been supported by institutions that include the Fulbright-Hays Program, the Associated Colleges of the South, Virginia Humanities, and the National Endowment for the Humanities.

Teaching

• Contemporary Chicana/o/x and U.S. Latina/o/x art
• Modern Latin American art
• Colonial Latin American art
• Arts of Mesoamerica and the Andes
• Early Modern European art (Italian, Spanish, Dutch)

Selected Publications

Selected Articles and Chapters

• "Memory and Counter-Memorials: Adriana Corral’s Unearthed: Desenterrado on the United States-Mexico Border." The Latin Americanist 65, no. 1 (2021): 84–104. Project MUSE, doi:10.1353/tla.2021.0005.
  
  
• Brooks, Mackenzie, Alston Cobourn, Andrea Lepage, and Elizabeth Teaff."Building Visual Literacy Skills on Campus: A Toolkit for Multidisciplinary Teaching from University Art Collections," ART DOCUMENTATION 39, no. 2 (Fall 2020): 184-199.
  
  
• “This is Your America: Racially Motivated Violence and Vincent Valdez’s The Strangest Fruit,” 108–126. In Contemporary Citizenship, Art, and Visual Culture: Making and Being Made, Routledge Advances in Art and Visual Studies Series, Edited by Corey Dzenko and Theresa Avila. London: Routledge Taylor & Francis Group. January 2018.
  
  
• “Reconstructing the Curriculum at El Taller Siqueiros, c. 1977: Judith Baca’s ‘Intensive Course in Mural Painting in Cuernavaca.’” In BACA: Art, Collaboration and Mural Making, ed. Mario Ontiveros, foreword Judith F. Baca. Los Angeles: Angel City Press, 2017.
  
  
• “The Great Wall of Los Angeles: Bridging Divides and Mitigating Cultural Erasure,” The Latin Americanist 61, volume 3 (September 2017): 361-384.
  
  
• “Multiple Ways of Knowing: Layers of History on The Great Wall of Los Angeles, 149-176.” In Anthropology of Los Angeles: Place and Agency in an Urban Setting, ed. Jenny Bahn with Melissa King. Lexington, KY: Rowman & Littlefield Publishers, Inc.: 2017.
  
  
• Kerin, Melissa R. and Andrea Lepage. “De-Centering ‘The’ Survey: The Value of Multiple Introductory Surveys to Art History.” Art History Pedagogy & Practice 1, no. 1 (2016).
  
  
• "Art and the Counter Reformation." In Ashgate Research Companion to the Counter-Reformation, edited by Alexandra Bamji, Geert H. Janssen, and Mary Laven, 373-394. London: Ashgate, 2013.
  
  
• "El arte de la conversión: modelos educativos del Colegio de San Andrés de Quito,"trans. Alexandra Kennedy Troya, Procesos 25 (2007).
  
  
• "Isabel de Cisneros in Her Own Role." In Woman and Art in Early Modern Latin America, eds. Kellen McIntyre and Richard Philips, 395-418 (Leiden, Brill Academic Press, 2006).

Selected Museum/Gallery Essays

• “Esteban Ramón Pérez: Distorted Myths, the Fighting Spirit, and the Right to Opacity/ Esteban Ramón Pérez: Mitos distorsionados, el espíritu de lucha y el derecho a la opacidad.” In Esteban Ramón Pérez: Distorted Myths, edited by Andrea Lepage, English: 6–26; Spanish: 6–27. Translated by Blanca I. Paniagua. Waynesboro, VA: McClung Companies, 2022. ISBN: 979-8-218-06462-4.
  
  
• “The Fragility of Remembrance and Adriana Corral’s Unearthed: Desenterrado/La fragilidad del recuerdo y Unearthed: Desenterrado, de Adriana Corral,”English: pp. 29-36; Spanish: pp. 30-38. In Adriana Corral’s Unearthed: Desenterrado. Edited by Andrea Lepage. Translated by María Eugenia Hidalgo. Waynesboro, VA: McClung Companies, 2019.
  
  
• "Xavier Tavera’s Borderlands: Communication and Commonality across the Porous Frontier/Xavier Tavera’s Grenzland: Kommunikation und Gemeinsamkeiten über die poröse Grenze hinweg.” In Xavier Tavera “Borderlands,” trans. Felicia Glidden. Krumbach, Bavaria: ProjekTraum FN l’Atelier Glidden Wozniak/Frick Kreativbüro & Onlinedruckerei e.K., 2019.
  
  
• “The Pachuco Makes a Stand: Xavier Tavera’s Stills and Motion.” In Xavier Tavera: Stills and Motion, 2–42. Sioux Falls, SD: Center for Western Studies, 2017.
  
  
• "Invisible Threat: Vincent Valdez’s The Strangest Fruit."In Vincent Valdez’s The Strangest Fruit. Waynesboro, VA: McClung Companies, 2015.

Projects with W&L Students

Collaborative Essays with Students

• Lepage, Andrea, Reid Ostrom ’20, James Ricks ’21, and David Salchert ’20. “Leaving a Trace: Adriana Corral on her Installation of Unearthed: Desenterrado in Rural Virginia.” Columns, June 25, 2019.

W&L Quick Hits: Installing Adriana Corral’s “Untitled (Rio Vista Farm blueprint)”

Eagle’s Nest Clubhouse and W&L Collaborate For Community Mural (Documentary)

Community Muralism at the Eagle’s Nest: A Time-lapse