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Alexis Boylan

Assistant Professor in Residence


Office: Beach 420


Alexis L. Boylan is Assistant Professor in Residence at the University of Connecticut in the department of Art and Art History and Women’s Studies Program. She received her B.A. in history from Bryn Mawr College and her Ph.D. in art history from Rutgers University. Her research focus is on American art from the colonial to the contemporary periods, with particular emphasis on race and gender.

Boylan is editor of Thomas Kinkade, The Artist in the Mall (Duke University Press, 2011).  Her current book project, entitled Man on the Street: Masculinity, Urbanism, and Ashcan Art concerns the Ashcan circle, race, and urban masculinity. She is also working on a dual biography of Dolly Sloan and Helen Farr Sloan. Boylan has published in Rethinking Marxism and Prospects and has contributed essays to recent museum exhibition catalogues including Seeing the City: John Sloan’s New York (Yale University Press and the Delaware Art Museum, 2007) and Landscape of Slavery: The Plantation in American Art, (University of South Carolina Press and the Gibbes Museum of Art, 2008). Before coming to the University of Connecticut, Boylan taught at the University of Tennessee where she was awarded the Dale G. Cleaver Endowed Professorship Award, given in recognition of research and creative achievements.



Thomas Kinkade: The Artist in the Mall (Duke University Press, 2011).

While many art-world and academic critics have dismissed Thomas Kinkade, one of the most-collected artists in the U.S., as a passing fad or marketing phenomenon, the contributors to this collection do not. Instead, they explore his work and its impact on contemporary art as part of the broader history of American visual culture.

“At last, a thoughtful book on Thomas Kinkade. This is much more than a case of visual studies replacing art history with social and economic analyses: the contributors wrestle with value, quality, irony, self-reflexivity, aesthetics, taste, complexity, class, religion, nostalgia, and kitsch. Despite what several authors argue or hope, this excellent book implies Kinkade is very much a part of contemporary fine art: he troubles the discourses of art history, art theory, and visual studies in just the way an exemplary artist should.”—James Elkins, author of On the Strange Place of Religion in Contemporary Art

For more information, and to order the book directly from Duke University Press, please visit