Kaitlin M. Murphy is an assistant professor of Latin American Cultural Studies in the Department of Spanish and Portuguese, a faculty member in the Social, Cultural, and Critical Theory Graduate Interdisciplinary Program, and affiliated faculty in Latin American Studies at the University of Arizona. She is also on the Executive Committee for Global Studies, where she serves as faculty supervisor for the Human Rights, Migrations, and Social Movements track. She is on the Executive Committee of the Hemispheric Institute of Performance and Politics, where she co-leads the Hemi Pedagogy Executive Council Subcommittee in developing initiatives that intersect digital media, pedagogy, performance and politics. She is also a council member of the Visual Culture section of the Latin American Studies Association. Murphy holds a Ph.D. in Performance Studies (2013) and M.A. in Visual Culture (2009), both from New York University. She received her B.A. in Community Studies with a minor in Dance from the University of California Santa Cruz (2002).
Murphy writes and teaches about theater and performance, visual culture, memory, affect, hemispheric and global south studies, politics and human rights, borders and migration, and digital humanities. She is currently writing a book that studies the relationship between memory, affect, and visuality in the Americas 1990s-present. Interweaving performance, visual, and affect theory, the book examines how a diverse range of predominantly unstudied but critical visual works (including photography in Guatemala; a hybrid photography-performance project in Argentina; documentaries in Chile and El Salvador; and documentary, forensic analysis, GIS mapping projects, and digital media interventions in the U.S.-Mexico border region) all work to engage and render visible specific memory narratives in order to create a context for publics to see and feel past and present injustices. Ultimately, the book aims to shed light on how strategies for embodying and depicting different forms of knowledge and experience are negotiated through a variety of practices that all place the question of performative visuality as central to their intervention.