Professor of History
James Krippner began teaching as an Instructor at Haverford College in 1992. Since that time, he has earned his Ph.D., published two books, several articles and over twenty book reviews. He has also served as co-curator for a photography exhibition appearing at several locations including the Aperture Gallery in New York (http://www.aperture.org/gallery). Reviews of the exhibit from a variety of perspectives can be found at artdaily.com and the Wall Street Journal.
While at Haverford, Krippner has been promoted to Assistant, Associate, and Full Professor. He has served multiple times as Chair of the History Department and Director of the Latin American, Iberian and Latino Studies Area of Concentration and recently concluded a three-year term as Academic Director of Haverford College’s Center for Peace and Global Citizenship (July 2011-July 2014). He is currently Associate Editor and Book Review Editor for The Americas: A Quarterly Review of Latin American History, where he has been on the Editorial Board since 2008. Krippner teaches a wide range of courses on Latin American and Global History. He is using his sabbatical year in 2014-15 to study Portuguese, shift his research focus from Mexico to Brazil, and develop new courses on the History of Haverford College; Religion, Power and Politics in Latin America and Visual History.
Ph.D. University of Wisconsin-Madison
M.A. University of Wisconsin-Madison
B.A. Curriculum Honors with Distinction, University of Illinois, Champaign-Urbana
Krippner’s current research is on the concept and historical reality of the Brazilian Baroque (a set of practices and artifacts rooted in 17th century Brazil and redefined over time.) His past research interests include the history and historiography of the 16th century Spanish conquest of the region (now state) of Michoacán, Mexico; and the visual and written traces resulting from the photographer and filmmaker Paul Strand’s years in Mexico (1932-34, and a brief return trip in 1966). These scholarly efforts are rooted in Krippner’s longstanding interest in problems of historiography and representation, religious history, and visual history