Ian Alan Paul

IAN ALAN PAUL, Assistant Professor
Digital/New Media, Interactive Media, Social and Interventionist Practice, Interdisciplinary Studio, Installation, Critical Theory
Ph.D. University of California, Santa Cruz
M.F.A. San Francisco Art Institute
Office: Staller Center for the Arts #4288

Ian Alan Paul is a transdisciplinary artist, theorist, and curator. His practice encompasses experimental documentary, critical fiction, and media art, aiming to produce novel conditions for the exploration of contemporary politics and aesthetics in global contexts. His projects often incorporate digital/new media, performance, and installation, and are broadly informed by prolonged engagements with continental philosophy, critical/queer/feminist theory, and contemporary Marxist and Anarchist thought. His recent work has approached topics such as the Guantanamo Bay Prison, Fortress Europe, the Zapatista communities, Drone Warfare, and the military regime in post-revolution/post-coup Cairo.

Ian has taught, lectured, and exhibited internationally, and has had his work featured in The Atlantic, Al Jazeera, Le Monde, Art Threat, Mada Masr, Jadaliyya, Art Info, and C Magazine, among others. He received his PhD in Film and Digital Media Studies from UC Santa Cruz in 2016 and his MFA and MA from the San Francisco Art Institute in 2011.

Brooke Belisle

BROOKE BELISLE, Assistant Professor
History of Photography and Cinema, Media Theory and Media Art, Philosophy of Technology, Visual Culture of Science
Joint Appointment with the Consortium for Digital Art, Culture, and Technology (cDACT)
Ph.D. University of California, Berkeley
Office: Staller Center for the Arts #4725

Brooke Belisle researches and teaches the history and theory of photography, cinema, and digital media. Her work focuses on the recurrent disruptions and possibilities of “new media,” exploring emergent formats and experimental practices that echo across different historical periods of technological and social transformation. She directs the Stony Brook working group in Media, Art, Culture, and Technology and is an editor of the Journal of Visual Culture.
Belisle has published on media art; 19th century visual culture; the visual culture of science; immersive and interactive media; and hybrid aesthetics that complicate the conventions of photographic, cinematic, and digital imaging. Her current book project, The Bigger Picture relates the ideas of connection expressed by digital and network aesthetics today with the expansive ambitions expressed by compounded nineteenth century formats such as stereo-panoramas, early photographic sets, and other pre- or para-cinematic experiments. She is also working on a second project, Seeing Stars, which considers how the limits of the visible world have been repeatedly recast through the changing aesthetic and cultural contours of astronomical imaging techniques. More information about her recent work, and copies of publications, can be found on her academia.edu page and at metonymy.net.
Belisle completed a PhD at UC Berkeley in Rhetoric, with additional emphases in Film and in New Media; a hands-on master’s degree in digital media at New York University’s Interactive Telecommunications Program; and a bachelor’s degree in English at Princeton University. From 2013-2015 she served as an American Council of Learned Societies (ACLS) New Faculty Fellow in the Department of Cultural Analysis and Theory at Stony Brook.

Isak Berbic

ISAK BERBIC, Assistant Professor
Photography and Media Art, Artificial Lighting and Critical Color, Theory-Research-Practice, Limits of Representation, Social and Contested Histories
M.F.A. University of Illinois at Chicago
Office: Staller Center for the Arts #4281

Isak Berbic works with photography, moving image and performance. His recent projects reimagine social and personal narratives to unearth contested histories, while investigating ideas around photographic representation, politics, geographies, economies, ecologies, archaeologies, exchange, and transformation. In the 1990’s when Yugoslavia disintegrated and Sarajevo was under siege, Isak Berbic and his family escaped the war, lived in a refugee camp in Denmark, and sought political asylum in the United States. Isak studied art at the Malmö Art Academy, Sweden, and at University of Illinois at Chicago, where he completed his MFA. Reframing events, histories, borrowing from anecdotes, myths, aesthetics of historical sciences, he uses fiction and documents, found and primary material, the image and the literary, in the construction of his artworks. His work takes on different forms of presentation, including photography-text-object installations, films and videos, actions, cooking, speeches, texts and publications. He has has exhibited internationally including Marrakech Biennial 2016, BRIC Biennial in Brooklyn 2014, Helsinki Photomedia 2014, Dojima Biennale 2008, Singapore Biennale 2008. Isak is currently based in Brooklyn, New York. He teaches at Stony Brook University Department of Art. At the moment he is working with saguaro cactus, hippopotamus fossils, fossil fuels, tomatoes, juju beans, lapis, shrapnel and meteorites.

Michele H. Bogart

Social History of Public Art, Urban Design and Commercial Culture in the United States
Ph.D. University of Chicago
Office: Staller Center for the Arts #4215

Michele H. Bogart has taught American visual culture studies at Stony Brook since 1982. Her areas of expertise are urban design and commercial culture. She has published on public art, memorials, animation, landscape and garden history, photography, illustration, and advertising. Bogart received her M.A. and Ph.D. from the University of Chicago. She is author of Artists, Advertising, and the Borders of Art, published by the University of Chicago Press in 1995; Public Sculpture and the Civic Ideal in New York City, 1890-1930 (University of Chicago Press, 1989; paperback ed. Washington: Smithsonian Institution Press, 1997), which received the Smithsonian Institution/ Museum of American Art’s Charles C. Eldredge Prize in 1991; and of the prizewinning The Politics of Urban Beauty: New York and Its Art Commission (University of Chicago Press, 2006). She was a talking head in the documentary on movie poster artist Reynold Brown (“The Man Who Drew Bug-Eyed Monsters”), which aired on PBS television in July 1996, and for the Lucasfilm DVD on artist Norman Rockwell; and for a special program on public art for Kulturen på News, the daily Arts & Politics show on national Danish television TV2 News (November 2012). She was a member of the editorial advisory board for the “Cultural Studies of the United States” series, published by the University of North Carolina Press, and has served on the editorial boards of The Journal of Urban History and American Art.

Bogart has been the recipient of fellowships from the Smithsonian Institution, National Endowment for the Humanities, the American Council of Learned Societies, the John Simon Guggenheim Memorial Foundation, and the Terra Foundation for American Art. From 1998 through 2003 she served as a member of the City’s design review agency, the Art Commission of the City of New York (now the Public Design Commission), and was for four years its Vice President. She is past president of the Associates of the Public Design Commission and a member of the Commission’s Conservation Advisory Group. She is also a member of the Board of Directors of the New York Preservation Archive Project. Bogart is presently completing a book-length study on public sculpture in New York City from the period spanning Cold War and culture wars, and is beginning exploration of the paintings of Nicolas Poussin.

Toby Buonagurio

Ceramic Sculpture, Drawing and Conceptual Drawing
M.A. City College of New York
Office: Staller Center for the Arts #4210

Toby Buonagurio is a lifetime resident of New York City. She is best known for her colorful, offbeat, tongue-in-cheek, ceramic sculpture, inspired by extensive international travel, and an unapologetic affection for Popular Culture, American and otherwise. She has exhibited her ceramic sculpture in 27 solo shows in museums and art galleries throughout the United States and Japan. Her work has been featured in almost 300 international shows, and has been written about extensively in national periodicals, professional publications, books, monographs, exhibition catalogues and featured in television documentaries on the arts, internationally. Her work is represented in numerous private and public collections in the US and abroad.
In 1997 she was an invited guest artist at the Shigaraki Ceramic Cultural Park, in Japan, where she created artwork and later traveled throughout the country for two months.
“Times Square Times: 35 Times”, her most public artwork, consists of thirty –five, unique, glazed ceramic relief sculptures commissioned by MTA Arts and Design. In 2005, the work was permanently installed, in custom illuminated boxes, throughout the glass block walls at Times Square -42 Street Subway Station …the cross roads of the world. “Times Square Times: 35 Times” is viewed by nearly half a million subway riders daily, and is on display to the public 24 x 7. http://www.tobytimessquare.com
“Earth, Air, Fire, Water”, was commissioned in 2010 for the new, high-tech Simons Center for Geometry and Physics, located on the Stony Brook University campus. Known as the “Butterfly Wall”, it is comprised of eleven enormous, glazed, ceramic butterflies that span the two story central lobby wall. Imagery of the iconic elements of physics : earth, air, fire and water are integrated into the configuration of each butterfly.
Her latest, most extreme approach to ceramic sculpture, the result of more than a year’s labor intensive research, utilizes high octane, brilliantly colored, reflective surfaces that appear to physically activate her work.
Since 1976, Toby Buonagurio has been Head of Ceramics in the Art Department at Stony Brook University.

more information:



Gwen Coady

GWEN COADY, Department Secretary
Office: Staller Center for the Arts #2224
Phone +1-631-632-7250

Gwen Coady, a  has been with the Stony Brook University Department of Art since 2008. Gwen was a secretary in the private sector for many years, prior to joining the Department.

Department of Art
Stony Brook University
2224 Staller Center for the Arts
Stony Brook, NY 11794-5400
Phone: +1 (631) 632-7250
Fax: +1 (631) 632-7261


Stephanie Dinkins

STEPHANIE DINKINS, Associate Professor
Artificial Intelligence and Socially Engaged Practice in the context of Race, Gender and Future Histories; Digital Media: particularly lens-based and interactive practices; Video; Photography; Installation Art.
Digital Arts Minor Program Director
M.F.A. Maryland Institute College of Art
Office: Staller Center for the Arts #4287

Stephanie Dinkins is an artist interested in creating platforms for ongoing dialog about artificial intelligence as it intersects race, gender, aging and our future histories. She is particularly driven to work with communities of color to develop deep-rooted AI literacy and co-create more culturally inclusive equitable artificial intelligence.  Her work often employs lens-based practices, the manipulation of space, and technology to grapple with notions of consciousness, agency, perception, and social equity. Dinkins’ art is exhibited internationally at a broad spectrum of community, private and institutional venues – by design. These sites include Institute of Contemporary Art Dunaujvaros, Hungary; Herning Kunstmuseum, Denmark; Spellman College Museum of Fine Art; Contemporary Art Museum, Houston; Wave Hill, Studio Museum in Harlem; The Long Island Museum, NY;  Spedition Bremen; and the corner of Putnam and Malcolm X Blvd, Bedford-Stuyvesant, Brooklyn.  Dinkins is a 2017 A Blade of Grass Fellow and a 2018 Truth Resident at EYEBEAM, NY. She has received additional support from Joan Mitchell Foundation, Puffin Foundation, Trust for Mutual Understanding, Lef Foundation, and Residency Unlimited.  Artist residencies include NEW INC, Blue Mountain Center; Aim Program, Bronx Museum; The Laundromat Project; Santa Fe Art Institute, Art/Omi and Center for Contemporary Art, Czech Republic.   Her work has been cited in media outlets such as Art In America, The New York Times, Washington Post, and Baltimore Sun and SLEEK Magazine.    Dinkins’ holds an MFA from the Maryland Institute College of Art. She is also an alumna of the International Center of Photography and the Independent Studies Program of the Whitney Museum of American Art.

Christa Erickson

CHRISTA ERICKSON, Associate Professor
Digital Art
*Currently on leave
M.F.A. University of California, San Diego
Office: Staller Center for the Arts #4285

Christa Erickson is an interdisciplinary artist who investigates the politics, pleasures, and pains of spaces mediated by electronic technologies. She weaves together combinations of video, tactile materials, programming, physical cinematic devices, and live data in interactive installations. Her individual and collaborative works have been exhibited widely both within the United States and abroad. Sites within the United States where her work has been shown include the PPOW (NY), Jamaica Center for the Arts (NY), SVA Visual Arts Museum (NY); the Walker Art Center (MN); the Institute for Studies in the Arts at ASU (AZ); the California Museum of Photography; Maryland Art Place; and Firehouse Gallery (VT) as well as numerous university galleries and museums. Internationally, she has had exhibits at the Banff Center for the Arts, the Hong Kong Arts Centre, several art museums in Argentina, and at international media arts festivals like FILE (Brazil), SIGGRAPH Asia (Japan), CYNETart (Germany), HTMLLES (Canada), Medi@terra (Greece and Eastern Europe), Pixilerations (RI, US), and Ciber@rt (Spain). Her work has been cited in the New York Times, Leonardo, Village Voice, Wired, Parachute, Newsday, Baltimore Sun, San Diego Union Tribune, Arizona Republic, and “Coolsite of the Day.” She was Artist-in-Residence at the Hong Kong Arts Centre for Digital Now 2003 and an Artist-in-Residence at Sculpture Space in 2007. She also writes, curates, and regularly speaks about new media. Her essay “Networked Interventions: Debugging the Electronic Frontier” appears in the anthology Embodied Utopias: Gender, Social Change, and the Urban Metropolis (Routledge, 2002). She teaches digital arts courses and has received a Presidential Mini-Grant for Innovative Teaching. Her background includes commercial print and web design, media and animation production, and software engineering. Ms. Erickson has an MFA from the University of California, San Diego and degrees in sculpture and computer science from the University of Texas, Austin. Prior to joining the faculty at Stony Brook, she taught at UC, San Diego and at Indiana University, where she founded the University’s Digital Media program.

Barbara E. Frank

BARBARA E. FRANK, Associate Professor
Department of Art Chair
Contemporary African and Diasporic Art, Ancient African and Mesoamerican Art

Ph.D. Indiana University
Joint Appointment with Africana Studies
Office: Staller Center for the Arts #4219 and #2221

Barbara Frank teaches graduate courses on issues in Global, Colonial and Diasporic art, and undergraduate courses on the arts of ancient Mesoamerica, Africa, and the African Diaspora. She holds a joint appointment with Africana Studies and is affiliated with Women’s and Gender Studies (WaGS), Latin American And Caribbean Studies, as well as The Humanities Institute (HISB).

Frank’s primary research has been in Mali, West Africa, where she has worked with ceramic and textile artists, leatherworkers and blacksmiths on artistry, technology and social identity. She has held major fellowships including a Social Science Research Council Grant, two National Endowment for the Humanities (NEH) Fellowships, three Fulbright-Hays Research Abroad Fellowships, and a Smithsonian Institution Senior Research Fellowship. Her major publications include Mande Potters and Leatherworkers. Art and Heritage in West Africa (Smithsonian, 1998, 2001) selected as a Choice Outstanding Academic Book, and an edited volume Status and Identity in West Africa: Nyamakalaw of Mande (Indiana, 1995). She also co-edited a special issue of the journal African Arts (2007) on African ceramic arts including her own article on the women potters of the Folona region of Mali.

Frank is currently working on an historical project mapping cultural traditions across the region from the Mande heartland and the Inland Niger Delta in Mali, across northern Côte d’Ivoire, to the Black Volta region of Ghana. Professor Frank has been active in and served on the boards of the Arts Council of the African Studies Association (ACASA), the Mande Studies Association (MANSA), and the journal African Arts.

Shoki Goodarzi

Contemporary Middle Eastern Art and Cinema, Near Eastern Art and Archaeology, Greek and Roman Art and Archaeology, Curatorial Studies
Ph.D. University of California, Berkeley
Office: Staller Center for the Arts #4214

Shoki Goodarzi’s inter-disciplinary academic training has provided her with the necessary tools to study and effectively teach multiple fields of interests.  With a master’s degree in Classical art and archaeology, specializing in the Roman and Aegean world, and a Ph.D. in ancient Near Eastern art and archaeology, Goodarzi’s courses at the undergraduate level cover much of the ancient world. Although these courses may follow what appears to be a conventional linear fashion, the content addresses larger issues in the field, not in isolation, but rather as a vehicle of influences, transference of ideas, and interconnections that link cultures across time and space.  Her academic specialty is further strengthened by her experience as an archaeologist and as a museum curator; both are fully integrated into her research and classroom teaching.

While ancient arts of the Mediterranean and the Middle East were her focus in graduate school, since then she has developed interest and expertise in the contemporary art and cinema of the Middle East.  She has offered specialized topics courses on Contemporary Art of Modern Iran, Women Artists of Middle East, and Iranian Cinema, allowing our students to become aware of and pursue growing opportunities in this field. The exploration of cross-cultural relations in both ancient and modern societies adds a significant global dimension to our curriculum at both graduate and undergraduate levels.

Helen A. Harrison

HELEN A. HARRISON, Director, Pollock-Krasner House and Study Center
M.A. Case Western Reserve University
Pollock-Krasner House and Study Center
830 Springs-Fireplace Road East Hampton, NY 11937-1512
Phone: (631) 324-4929 Fax: (631) 324-8768

At the Pollock-Krasner House and Study Center, www.pkhouse.org, Helen Harrison directs the former home and studio of Jackson Pollock (1912-1956) and Lee Krasner (1908-1984), two of the foremost abstract expressionist painters. The National Historic Landmark site, which belongs to the Stony Brook Foundation, is located in East Hampton and is open to the public from May through October. Stony Brook students, faculty and staff are admitted free, and are welcome to visit in the off-season by appointment. Our research collections include a 2,000-volume art reference library, documentary archives, audio and video material, photographs, periodicals and ephemera related to 20th century American art and the influences on it, with special focus on the world-renowned eastern Long Island art community. The Study Center is available to Stony Brook students, faculty and other researchers by appointment: call 631-324-4929. We will also be pleased to answer research inquiries by phone or email.

Takafumi Ide

TAKAFUMI IDE, Lecturer, Instructional Support Technician
Digital Art, Media Art
M.F.A. Stony Brook University
Office: Staller Center for the Arts #4234

Takafumi Ide is an interdisciplinary media artist focus on installation with sound and light. He received his B.A. in graphic design from Tama Art University, Tokyo in 1989. He has worked for more than ten years as a graphic designer and an illustrator in Japan. After observing the 911 in Brooklyn, he decided to go to graduate school to learn fine art. In 2007, he received his M.F.A. in studio art from Stony Brook University (SBU), NY, and now works as an Instructional Support Technician in the Art Department. Ide has received several honors; Sculpture Space Fellowship and Residency (partially funded by Pollock-Krasner Foundation and NYSCA), SOS Program Grant (NYFA), and project grants from Nomura Cultural Foundation, ISE Cultural Foundation, Asahi Shimbun Foundation, SBU FAHSS Grant, and NYU ITP Camp Fellowship. He has mostly exhibited in non-profit organization galleries in NYC area; Sunroom Project Glynder Gallery in Wave Hill, ISE Cultural Foundation, and AC Institute. Ide was invited to exhibit in Tallinn IV Drawing Triennial 2012 and received “honorable mentioned”. His photo-collage work was included the Long Island Biennial 2014 at The Heckscher Museum of Art. Ide’s light and sound sculpture “threshold” has been lent until 2021 in the Stone Quarry Hill Art Park, Cazenovia, NY. Most recently his sound interactive sculpture, “debacle, 2015” has been exhibited in the NYC Electroacoustic Music Festival 2016. Ide has been invited to exhibit his new work in Nakanojo Biennale 2017.


Sohl Lee

SOHL LEE, Assistant Professor
Contemporary East Asian Art and Visual Culture, Critical Theory and Globalization, Curatorial Studies
Ph.D. University of Rochester
Office: Staller Center for the Arts #4212

Sohl Lee specializes in modern and contemporary art and visual culture of East Asia, and her interdisciplinary research interests include aesthetics of politics, activist art, vernacular modernism, postcolonial theory, historiography, and curatorial practice. She joined Stony Brook as assistant professor of art history, after receiving her PhD in Visual and Cultural Studies from University of Rochester in 2014. Her dissertation, entitled “Images of Reality/Ideals of Democracy: Contemporary Korean Art, 1980s-2000s,” was supported by fellowships from the Social Sciences Research Council, the Korea Foundation, the Susan B. Anthony Institute of Gender and Women Studies at University of Rochester. She teaches undergraduate courses on contemporary East Asian art, including topics such as “Art and the City,” “Modern and Contemporary Korean Art,” and “Social Engagement and Publicness in East Asia.” Her English publications have appeared in Yishu: Journal for Contemporary Chinese Art, Art Journal, and InVisible Culture, and she has curated exhibitions in both the U.S. and South Korea.

Martin Levine

M.F.A. California College of Arts and Crafts
Office: Staller Center for the Arts #4266

Martin Levine works primarily in aquatint, etching, lithography and drawing. His work has been included in numerous exhibitions worldwide, including Australia, Poland, Germany, England, Taiwan, Japan, Spain, The Netherlands, Norway, Ireland, Colombia, Uruguay, Slovenia, Egypt, Vietnam, Venezuela, Sao Paulo, Brazil, Israel, Canada and the U.S. His work can be found in many prestigious public and private collections, including the Victoria and Albert Museum, San Francisco Museum of Modern Art, Brooklyn Museum, Art Institute of Chicago, Library of Congress, New York Public Library, Museu D’Art Contemporani D’Eivissa, Spain, Museum of Fine Arts, Boston, New York Historical Society, Milwaukee Art Center and Zimmerli Museum. He has received over 120 National and International awards, including a National Endowment for the Arts in Printmaking. He is a past president of the Society of American Graphic Artists (SAGA), and elected to the National Academy of Design. He has been an invited juror to many International and National exhibitions, including the UK, Bulgaria, Poland, Yugoslavia, Pratt Graphics Center and the National Academy of Design, New York.

Karen Levitov

Director and Curator, Paul W. Zuccaire Gallery, Staller Center for the Arts
Office: Staller Center for the Arts #1220

Karen Levitov was appointed Director and Curator of the Paul W. Zuccaire Gallery (formerly University Art Gallery) in February 2014. Prior, she was a curator and senior administrator at The Jewish Museum, New York, where she organized numerous exhibitions, including a solo exhibition of contemporary artist Kehinde Wiley’s monumental portraits, work by Impressionist painter Camille Pissarro drawn from New York collections, and an exhibition of modern masterpieces by Matisse, Picasso and others collected by the Cone Sisters of Baltimore in the early twentieth century. Levitov’s books published in conjunction with her exhibitions include New York: Capital of Photography, Camille Pissarro: Impressions of City and Country, and Collecting Matisse and Modern Masters: The Cone Sisters of Baltimore.

For her first exhibition at Stony Brook, Levitov has commissioned a new work of sculpture, performance and video by New York artist Kate Gilmore. She is also organizing Form and Facture: New Painting and Sculpture from New York, featuring six contemporary artists working in large-scale abstraction.