Patricia Maurides

Patricia Maurides is a visual artist whose photographic work prominently features investigations into origins, both cultural and genealogical. She is frequently a performer in her image tableaus, using scientific imaging, and the natural environment to create work displaying theatrical and cinematic elements.

Maurides taught at Carnegie Mellon University from 2000 to 2016, where she designed a broad range of curricula including photography and interdisciplinary courses bridging the fine arts, natural sciences, and psychology. From 1999 to 2007, she served as the academic director of Carnegie Mellon’s interdisciplinary degree programs, the Bachelor of Humanities and Arts (BHA) and the Bachelor of Science and Arts (BSA). Maurides co-authored The Brain as Muse – Bridging Art and Neuroscience, an article appearing in Leonardo, a journal of the International Society for the Arts, Sciences and Technology (April 2017 issue). In 2014 she curated the exhibition Neurons and Other Memories – Work In and Around the Brain at the Miller Gallery at Carnegie Mellon, for which she collaborated with the Center for the Neural Basis of Cognition. In that same year she received a Carnegie Mellon Crosswalk grant for her NeuroArt Initiative.

In 2018, Maurides obtained support through the Malka fund for an artist residency with the East End Special Players – a theatrical troupe of adults with varied needs and abilities.

Maurides has an MFA in Art from Carnegie Mellon and a BS in Biological Sciences from the University of South Carolina. She currently lives and works on Long Island.

Ian Alan Paul

IAN ALAN PAUL, Assistant Professor
Digital/New Media, Social & Interventionist Practice, Interdisciplinary Studio, Installation, Experimental Documentary, Critical Theory, Network Cultures, Politics of Aesthetics.
Ph.D. University of California, Santa Cruz
M.F.A. San Francisco Art Institute
Ian.Paul@stonybrook.edu

Ian Alan Paul (b. 1984) is a transdisciplinary artist and theorist whose work examines instantiations of power and practices of resistance in a wide variety of global contexts. His work is formally diverse, often making use of writing, photography, video, and code, and is conceptually informed by critical theory and continental philosophy. Presently, Ian is exploring destituent power and the politics of refusal in a series of experimental documentaries and is coediting an anthology of essays and artworks that explores the role that media texts, technologies, and practices have played in consolidating the so-called European Migrant “Crisis” as an object of political contention, affective investment, and legal and legislative maneuver.

Over the course of his life, Ian has lived, taught, and worked for extended periods in the United States, Mexico, Spain, Egypt, and Palestine. He has taught, lectured, and exhibited internationally, and has had his work featured in The Atlantic, Al Jazeera, 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

Comparative Media (History and Theory of Photography, Cinema, Digital Media); Media Art, Media Theory, Media Archaeology; Immersion and Interactivity; Critical Theory and Phenomenology; 19th Century Visual Culture; Visual Cultures of Science

Ph.D. University of California, Berkeley
Brooke.Belisle@stonybrook.edu
Office: Staller Center for the Arts #4275

Brooke Belisle researches and teaches comparatively across the history and theory of media aesthetics. 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, has been co-chair of the CinemArts interest group of the Society of Cinema and Media Studies, and is an editor of the Journal of Visual Culture. Her work has been supported by long term fellowships from the American Council of Learned Societies, The Getty Foundation, the National Endowment for the Humanities, and the Library Company of Philadelphia.

Belisle’s current book project, The Bigger Picture, explores how strategies of connection in contemporary media aesthetics resonate with the expansive ambitions of 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 will offer a media-aesthetic history of astronomy to show how art, science, and technology intersect to imagine the limits of our visible world. She has published essays on artists including Lorna Simpson, Trevor Paglen, and Ken Jacobs as well as on railroads, stereographs, and globes; copies of some publications can be found on her academia.edu page.

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. She advises MA, MFA, and PhD students across a broad range of interdisciplinary research and practice in art and art history, film and media studies, philosophy and visual culture. 

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
Isak.Berbic@stonybrook.edu
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

MICHELE H. BOGART, Professor
Social History of Public Art, Urban Design and Commercial Culture in the United States
Ph.D. University of Chicago
Michele.Bogart@stonybrook.edu
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

TOBY BUONAGURIO, Professor
Ceramic Sculpture, Drawing and Conceptual Drawing
M.A. City College of New York
Toby.Buonagurio@stonybrook.edu
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.
http://scgp.stonybrook.edu/archives/1334
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:
Times Square-42nd Street
http://web.mta.info/mta/aft/permanentart/permart.html?agency=NYCT&line=A&station=5&artist=3

Times Square-42nd Street
https://youtu.be/HV60vj_3SBM

.

Gwen Coady

GWEN COADY, Department Secretary
Gwendolyn.Coady@stonybrook.edu
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
Stephanie.Dinkins@stonybrook.edu
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.

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
Barbara.Frank@stonybrook.edu
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

SHOKI GOODARZI, Lecturer
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
Shoki.Goodarzi@stonybrook.edu
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.

Qin Han

QIN HAN, Adjunct Lecturer
Digital Arts, Installation, Printmaking, Video Art
M.F.A. Pratt Institute
M.F.A. China Academy of Art
Qin.Han.1@stonybrook.edu
Office: Staller Center for the Arts #AE8

Qin Han is a digital artist and printmaker. Her work adapts a traditional approach to our digital era, but formally grounded in painting, drawing and printmaking. Her work questions the experience of transition and relocation. Based on her experience, the images and the layers explored the pattern of travel.

Han has exhibited in the United States and China, including Zhejiang Art Museum(Hangzhou, China), 2016 Long Island Biennial at Hechscher Museum (Huntington, NY), 2017 Fantastic Art China at The Metropolitan Pavilion, Islip Art Museum, and Changjiang International Photography & Video Biennale (Chongqing, China). A solo show Where is Home at Long Island Museum Visitor Center. Her work had showed in galleries including Riverside Gallery(Hackensack, NY), Gallerynorth (Stony Brook, NY), One Art Space (Manhattan), Pratt Manhattan Gallery, Alex Ferrone Gallery, Wook Flavio Gallery (Manhattan), DDA Gallery, and many in China. Han earned her MFA in Digital Arts from Pratt Institute, a BFA and another MFA in Printmaking from China Academy of Art. She based in Stony Brook, New York and Hangzhou, China.

Han is the recipient of grant from NYFA immigrant mentoring program. She has also translated many lectures, and organized the highly successful China Academy of Art Masters’ Workshop Series introducing American artists and established pioneers in the fields of printmaking and digital art to China.

Helen A. Harrison

HELEN A. HARRISON, Director, Pollock-Krasner House and Study Center
M.A. Case Western Reserve University
Helen.Harrison@stonybrook.edu
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
Takafumi.Ide@stonybrook.edu
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
Sohl.Lee@stonybrook.edu
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

MARTIN LEVINE, Professor
Printmaking
M.F.A. California College of Arts and Crafts
Martin.Levine@stonybrook.edu
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.