Paper argues that John Frost’s pictorial images and narratives of Mexicans were used as historical justifications for the intervention into Mexico during the Mexican-American War.

Paper examines the state of standards and legislation for handling restitution claims for artworks looting from victims during the Holocaust.

Paper explores the biombo as an exemplary model of hybridity that consolidated European, Asian, and Latin American histories using a late 18th century example found in the collection of the Dallas Museum of Art.

Presentation for the 2011 University Scholars Day at the University of North Texas discussing research on paintings by Francisco de Goya.

This paper discusses research on Francisco de Goya's Tapestry Cartoons and the influence of the enlightenment.

Presentation for the 2011 University Scholars Day at the University of North Texas discussing research on the eighteenth century worker and Francisco de Goya's Tapestry Cartoons and the influence of enlightenment.

This paper discusses research on Francisco de Goya's painting, Allegory of Industry, 1797-1802.

Presentation for the 2011 University Scholars Day at the University of North Texas discussing research on Francisco de Goya's painting, 'Allegory of Industry', 1797-1802.

Paper examines the text and images in Bryant Tilden’s Notes on the Upper Rio Grande and analyzes how Mexicans are misrepresented in order to justify Manifest Destiny.

In this paper, the author gives an analysis of Francisco de Goya, arguing that the painter uses mirrors to symbolize harmonization of subject with its true self throughout his work.

Presentation for the 2013 University Scholars Day at the University of North Texas discussing research on the Spanish painter, Francisco de Goya (1746-1828), and the use of mirrors to symbolize the harmonization of the subject with its true self throughout his work.

This paper discusses research on the recruitment of women via the medium of posters during World War Two (1941-1945).

This paper discusses Francisco de Goya. Employing Foucault's discourse to specific works reveals Goya's ability to represent visually the fundamental tension between Romantic and Classical ideas, especially the ambiguous line between reason and madness.

Presentation for the 2011 University Scholars Day at the University of North Texas discussing research on Francisco de Goya and his artistically recorded evolving definitions of madness that preoccupied the eighteenth-century.

This paper discusses research on Francisco de Goya's series Los Caprichos. A semiotic analysis of Francisco de Goya's prints 'Todos Caeran' and 'Devota Profesion' examines how Goya modifies the medieval iconography of the siren, the owl, and the ass to embody immoral aspects of contemporary Spanish society.

Presentation for the 2011 University Scholars Day at the University of North Texas discussing research on Francisco de Goya's series, "Los Caprichos."

Paper explores how the Texas Centennial Exposition in 1936 was used to build the mythology of a unified Texas identity and history.

Paper explores the imagery and text coded with implications of the United States’ social dominance over Mexico in Hubert Howe Bancroft XVI's accounts of Texas history.

Paper argues the images and text in Albert S. Evans’s Our Sister Republic: A Gala Trip Through Tropical Mexico in 1869-70 misrepresented Mexico to justify American imperialism.

Paper closely examines images and text in Mexico of To-day by Solomon Bulkley Griffin and discusses how the book demonstrates the United States' attitude towards Mexico during the late nineteenth century.

Paper explores why the United States, and in particular Texas, does not begin requiring foreign language education until high school.

This paper presents research on Francisco de Goya. This research proves that the painting of Francisco de Goya (1746-1828) from 1800 ('The Cannibals), and his paintings from 1820-1823 (The Black Paintings, 'Judith,' and 'Saturn,' and Miniature, 'Judith') represent changing ideas on decapitation of a monarch.

This paper examines research on the significance of clothing, specifically, the "men's suit," in select examples of contemporary American performance art. Drawing on sociology and art history, it considers the suit as a form of communication, and it suggests that performance artists Chris Burden, Paul McCarthy, and Vanessa Beecroft have used the "men's suit" to explore and communicate something about masculinity as a socially and culturally constructed hegemony.

Presentation for the 2009 University Scholars Day at the University of North Texas discussing Man Ray's photographic series, "Noire et blanche" from 1926.