B.A., Florida State University, Tallahassee, FL
M.A., Vanderbilt University, Nashville, TN
Ph.D., University of North Carolina, Chapel Hill, NC
(601) 974 -1432
Office: AC 323
Professor of Art History, Sanderson Chair in Arts & Sciences
Elise Smith is the art historian at Millsaps, teaching a variety of period courses as well as more specialized topics. Her dissertation examined 16th-century Northern European artist Lucas van Leyden, and recently her research interests have shifted to 19th-century Victorian painting as well as women and garden imagery in English art and literature from 1750-1950. She published a book in 2002 on the female Pre-Raphaelite artist: Evelyn Pickering De Morgan and the Allegorical Body. In 2011 Women, Literature, and the Domesticated Landscape: England's Disciples of Flora, 1780 - 1870, co-authored with Judith Page (English Department, University of Florida), was published by Cambridge University Press.
BFA, Alfred University, Alfred, New York
M.F.A., Louisiana State University, Baton Rouge, LA
Office: AC 321
Professor of Studio Art & Chair of the Art Department
Sandra Murchison teaches Printmaking, Painting, Drawing and contemporary special topic courses. She will exhibit her mixed media pieces about the Mississippi Blues Trail historical markers at several solo exhibitions including Mansfield University in Pennsylvania and Nichols State University in Louisiana. She has had solo shows at such places as Delta State University, Fischer Galleries, Loyola University, Rockhurst University and the Cottonlandia Museum. Sandra has been a visiting artist at the Appalachian State University, Lawrence University, University of Louisiana at Lafayette, UTK, LSU, and UW at Madison. She has been granted several artist residencies at the Vermont Studio Center and most recently at Soaring Gardens Artist Retreat in Pennsylvania. She regularly exhibits her work nationally and internationally. SGC, International, a printmaking organization, has invited Sandra to serve as their Archives Liaison to the Board. In addition, Sandra curated two exchange portfolios and traveling exhibitions entitled White Elephant and Red Herring for the 2009 and 2007 SGCI conferences. Red Herring is now in the permanent collection of the Center for Book Arts in NYC. Sandra has taught a print and book arts workshops at Arrowmont School of Arts and Crafts, and at the Southwest School of Art and Craft. She is represented by Fischer Galleries in Jackson, Mississippi and Guy Lyman Fine Arts in New Orleans, Louisiana.
B.F.A. The University of Notre Dame
M.F.A. Clemson University
Office: AC 322
Assistant Professor of Art
Molly Morin teaches Digital Art and Sculpture. She is an artist working with data visualization software and rapid prototying technologies to make drawings and sculpture based on information mined from the internet. She has worked with the Notre Dame Digital Visualization Theater and the Center for Research Computing to produce collaborative code-based work. Morin uses digital means to produce work that explores the difficult relationship between information and meaning. Her projects visualize data sets generated from a wide range of texts, from poetry to text messages, and reflect on the impact of communication technology on daily life.
B.A. University of Florida
M.A. Hunter College
PhD. The Graduate Center, City University of New York
Office: AC 331
Sabbatical Replacement for Elise Smith 2011-2012
Teaching Fellow in Art History 2012-
Sarah Archino specializes in early-twentieth-century art. Her dissertation, "Rewriting the Narrative of Dada in New York," examines the avant-garde of the 1910s and the development of an American Dada aesthetic based on anarcho-individualism and the vernacular. Approaching Dada from the perspective of an Americanist, she conducts research that reconnects artists previously divided into separate stylistic camps and salons, dismissing Eurocentric definitions of Dada in favor of tracing a native, anti-institutional spirit that emerged in New York. Her next project will expand on these themes of anarchy and the vernacular in an examination of early-twentieth-century American modernism. She received an Honorable Mention from the College Art Association, based in part on her plans for this manuscript. Among her other research interests are collage, little magazines, and humor. She recently cohosted the conference, "Deadly Serious Art: Strategies of Humor as Critique," in New York in March 2012. Sarah has received research fellowships from the City University of New York and the Harry Ransom Center of the University of Texas at Austin, and participated in the Terra Foundation for American Art's summer residency program in Giverny, France, in 2011. She has previously taught Art History at Queens College, Hunter College, and Franklin & Marshall College. In 2010 she edited the second volume of the instructor's manual for the fourth edition of Marilyn Stokstad's textbook, Art History. She has also served as a writing fellow and has a special interest in teaching writing to undergraduates.