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Megan Hines
PhD Candidate and Research Assistant, Stony Brook University
Professional Background
Megan Hines is a dedicated and accomplished PhD candidate in the Department of Art History & Criticism at Stony Brook University, where she has made significant strides in her academic and research pursuits. Currently, she serves as the instructor of record for ARH 106: Art & Science, a position that allows her to share her passion and expertise in art with students while fostering a deep understanding of the interplay between artistic expression and scientific advancements. Her teaching role is complemented by her impressive research background, which includes a Graduate Council Fellowship, underscoring her commitment and aptitude for scholarship.
Megan's extensive experience in the field of art history is highlighted by her participation as a co-organizer for a panel on cybernetics at the prominent SECAC conference in 2016. Her engagement in such high-profile academic discussions reflects her dedication to exploring cutting-edge topics in contemporary art. She further enhanced her knowledge by attending the Cardiff University Summer School for ScienceHumanities in 2018, where she expanded her understanding of the connections between art and science.
In addition to her academic pursuits, Megan has played a vital role as a research assistant for numerous influential exhibitions and catalogues at prestigious institutions. Noteworthy projects include her contributions to the seminal exhibition “10 Americans: After Paul Klee” at the Zentrum Paul Klee and Phillips Collection, as well as “Mark Bradford: Tomorrow Is Another Day” presented at the American Pavilion during the Venice Biennale. Her involvement in other significant exhibitions, such as “Postwar—Art Between the Pacific and the Atlantic 1945—65” at Haus der Kunst and “Robert Smithson in Texas” at the Dallas Museum of Art, demonstrates her broad experience and expertise in curatorial practices and art historical research.
Education and Achievements
Megan began her formal education with a Bachelor of Arts in both Art History and English at Vanderbilt University. Her educational journey continued at the esteemed Hunter College, CUNY, where she earned her Master of Arts in Art History. These educational experiences have provided her with a robust foundation in the analytical skills required for art historical research, alongside a deep appreciation for the complexities of visual culture.
Currently, as a PhD candidate, Megan is diligently working on her dissertation titled "Art and Biotech: Bay Area Networks, 1965-85," which underscores her scholarly focus on the intersections of art, biotechnology, life, gender, and identity. Her research spotlights the significant contributions of artist Lynn Hershman Leeson, making critical connections between art and the evolving understandings of biological science and identity in contemporary society. Megan's work not only contributes to academia but also enriches public discourse on these vital issues.
Notable Contributions
Throughout her career, Megan has gained valuable experience working in various capacities within the art world. Her previous roles include important internships and assistantships that have honed her curatorial skills and deepened her understanding of art history. She served as a curatorial intern in prints and illustrated books at The Museum of Modern Art, where she engaged with some of the most critical collections in the field. Furthermore, her tenure as a gallery assistant at Cavalier Galleries, Inc. and her curatorial internship at the Frist Center for the Visual Arts has equipped her with a well-rounded perspective on the operations and curation of art exhibitions.
Megan Hines exemplifies the modern scholar, merging educational rigor with practical experience in the art historical field. Her dedication to the study of art intertwined with contemporary issues in biotechnology and identity positions her as a thought leader in her area of expertise. As she continues her scholarly journey, Megan's contributions will undoubtedly influence future discourses in art history and criticism, shaping how emerging narratives in art are understood and interpreted in our rapidly changing world.
