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
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 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. 

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.

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.

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.

Karen Lloyd

KAREN LLOYD, Assistant Professor
European Renaissance and Baroque Art, Italian Sculpture, Early Modern Europe and the Americas, Early Modern Art Theory
Ph.D. Rutgers University
Office: Staller Center for the Arts #4276

Karen Lloyd specializes in Italian Renaissance and Baroque art. Focusing primarily on papal Rome, her work traces the socio-political dynamics of art patronage, production, and reception. She engages with, among other things, the history of collecting and display, Bernini and Baroque sculpture, and the polemics of the early modern devotional image. Her current focus is a book manuscript on the visual apologetics of papal nepotism.

She is the co-editor of, and contributor to, A Transitory Star. The Late Bernini and his Reception (De Gruyter, 2015). Her scholarship has appeared in The Burlington Magazine, Getty Research Journal, Sixteenth Century Journal, and Journal of the History of Collections, as well as the edited volumes Making and Moving Sculpture in Early Modern Italy (Ashgate Press, 2015) and The New World in Early Modern Italy, 1492-1750 (Cambridge University Press, 2017).

Karen is the recipient of grants and fellowships from Queen’s University, the Institut National de l’Histoire d’Art/French Academy in Rome – Villa Medici, and the Kress Foundation/Bibliotheca Hertziana in Rome, among others.

John Lutterbie

Chair of the Department of Theatre Arts
Cognitive Science and Performance Theory, Theory of Theatre and Performance Art

Ph.D. University of Washington
Joint Appointment with Theatre Arts
Office: Staller Center for the Arts #3013

John Lutterbie teaches theory, history and criticism and directs. In addition to being a member of the Theatre Arts Faculty, he is an affiliate member of the Department of Art. His primary research areas is in Performance Theory, where he examines the intersection of phenomenology and the neuroscience of emotion and consciousness, and of culture and inter-subjectivity. The University of Michigan Press published his book, Hearing Voices: Modern Drama and the Problem of Subjectivity. In addition, he has published in numerous journals including Theatre Journal, The Journal of Dramatic Theory and Criticism, Performance Research, The Journal of Psychiatry and the Humanities, and Modern Drama. His recent directing credits include A Macbeth, Happy Days, Angels in American: Perestrioka and Blood Wedding. He is a member of the Association for Theatre in Higher Education, the Literary Managers and Dramaturgs of the Americas, the Modern Language Association, the American Society of Theatre Research, and Performance International.

David S. Mather

DAVID S. MATHER, Assistant Professor
Early Twentieth‐Century and Interwar European and American Art, Italian Futurism, Color Theory, Automatism
Ph.D. University of California, San Diego
Office: Staller Center for the Arts #4208

David Mather received his PhD in 2011 from the Art History, Theory, and Criticism Program at University of California, San Diego, for his dissertation on the visual structure of movement in early Italian futurism. His work situates the creative mediums of painting, cinema, sculpture, and photography among the diverse social and intellectual currents of that period, such as their relations to the discourses of automatism. In 2013–14, he was the inaugural Andrew Mellon Postdoctoral Fellow in the Department of Architecture at the Massachusetts Institute of Technology, in conjunction with the Center for Art, Science and Technology (CAST). Previously he completed a fellowship at the Getty Research Institute in Los Angeles (2013–13), where he investigated color theories and practices in the early 20th century.

His published writings have appeared, among other places, in Getty Research Journal, LEONARDO, the Sarai ReaderLeft History journal, and SITES Architecture, as well as in edited volumes and exhibition catalogs. While residing in Los Angeles, he curated contemporary exhibits involving electronic media and sound art, along with more traditional artistic mediums, and he worked with several nonprofit arts organizations: Southern California Consortium of Art Schools (SoCCAS), the Fellows of Contemporary Art, West of Rome, and the Society for the Activation of Social Space through Art and Sound (SASSAS).

Zabet Patterson

ZABET PATTERSON, Associate Professor
Contemporary European and American Art and Criticism, History and Theory of Computational Media, Performance and Cybernetics
Joint Appointment with the Consortium for Digital Art, Culture, and Technology (cDACT)
Ph.D. University of California, Berkeley
Office: Staller Center for the Arts #4289

Zabet Patterson specializes in the intersection of contemporary art and computational media in the postwar period. Her work is shaped by psychoanalytic and post-structuralist theory, and her interests include contemporary art history and criticism, digital media history and theory, performance, and cybernetics.

Her first book, Peripheral Vision: Bell Labs, the S-C 4020, and the Origins of Computer Art, was published by MIT Press in 2015. Her work on computational media and art has appeared in journals including Grey Room, Animation and Media-N, and in anthologies including Experiments in Art and Technology (Salzburg: Museum der Moderne), Systems ed. Edward Shanken (Cambridge: Whitechapel Gallery/ MIT Press, 2015), Feminist and Queer Information Studies Reader, ed. Patrick Keilty and Rebecca Dean (Sacramento: Litwin Books: 2013), Mainframe Experimentalism, ed. Hannah Higgins and Douglas Kahn (Berkeley: UC Press, 2012), and Porn Studies, ed. Linda Williams. (Durham: Duke University Press, 2004).

Patterson has been supported by fellowships from the Townsend Humanities Center and the Josephine de Karman Foundation. She spent 2005-2006 as Visiting Assistant Professor in the departments of Art History and Art at Northwestern University. She has been invited to speak at symposia devoted to modern and contemporary art, digital media, visual culture and continental philosophy in Instanbul, London, Florence, Vancouver, Tokyo and across the United States, and has curated exhibitions on sound art and locative media. She was recently given an award from the Warhol Foundation / Arts Writers Grant Program in support of her forthcoming book, Metamorphose Yourselves: USCO, Techno-Utopia and Technocracy.


James H. Rubin

JAMES H. RUBIN, Professor
Nineteenth‐Century European Art History, Theory and Criticism, Art and Politics, Art and Philosophy
Ph.D. Harvard University
Office: Staller Center for the Arts #4213

James H. Rubin is one of the world’s foremost specialists in the history, theory and criticism of nineteenth century European Art, especially that of France. He teaches courses at the graduate and undergraduate level. His interests are interdisciplinary, with special attention to cultural history, art and politics, and art and philosophy. He was educated at Phillips Andover, Yale (B.A.), Harvard (PhD), and the Institut d’Art et d’Archéologie of the Sorbonne in Paris (license ès lettres). He has taught at Harvard, Boston University, Princeton and the Cooper Union.

He has published over sixty articles and essays on subjects ranging from the eighteenth century to the present. He has given over sixty public lectures in North America, Western and Eastern Europe, and Asia. He is the author (and in one case editor) of thirteen published books: Eighteenth Century French Life-Drawing (1977); Realism and Social Vision in Courbet and Proudhon (1981); Eugène Delacroix’s ‘Dantebarke’ (1987); Manet’s Silence and the Poetics of Bouquets (1994); Courbet, Art and Ideas (1997); Impressionism, Art and Ideas (1999); Nadar (2001); Impressionist Cats and Dogs: Pets in the Painting of Modern Life (2003); Impressionism and the Modern Landscape: Productivity, Technology and Urbanization from Manet to Van Gogh (2008); Manet: Initial M, Hand and Eye (2010); Realism and Music: Courbet, Berlioz, Wagner and Relations between the Arts in Nineteenth-Century France (2012, e-book); How to Read Impressionism: Ways of Looking (2013); and (edited) Rival Sisters: Art and Music at the Birth of Modernism, 1815-1915 (2014).

He has served on the International Committee of the College Art Association and represented the CAA at the United Nations. He is a member and Vice-President of the Société Paul Cézanne, based in Aix-en-Provence, France. At Stony Brook, he is an affiliate of the Department of European Languages, the Department of Cultural Studies and Critical Analysis, and the Department of Philosophy. When he teaches graduate seminars at Stony Brook’s annex campus in Manhattan, his courses are cross-listed with Philosophy as part of the Art and Philosophy M.A. program. Most recently, he is the winner of a National Endowment of the Humanities Fellowship, which he will hold for the calendar year 2016. He travels frequently, speaks fluent French, and lives in New York City and Mittelbergheim, Alsace. His dog’s name is Texas Pete.

Katy Siegel

KATY SIEGEL, Professor
Eugene V. and Clare E. Thaw Endowed Chair in Modern American Art
Postwar and Contemporary European and American Art, Material and Social Histories, Curatorial Studies

Ph.D. University of Texas at Austin
Office: Staller Center for the Arts #4217

Katy Siegel is the inaugural Eugene V. and Clare E. Thaw Endowed Chair in Modern American Art.  Previously she was Professor of Art History and Chief Curator of the galleries at Hunter College, CUNY; she has also taught at Princeton and Yale universities. Siegel’s primary interests include the relation between postwar and contemporary art, and scholarship that accounts for both material and social being/making. Her most recent book is an edited volume, The heroine Paint”: After Frankenthaler (2015); she is the author of Since ’45: America and the Making of Contemporary Art (reviewed in the Oxford Art Journal), which details the collision of American social history and European modernism (2011), as well as the editor and sole essayist of Abstract Expressionism (2011).  Her other books include Since ’45: America and the Making of Contemporary Art (Reaktion, 2011). She has written criticism and historical essays on contemporary and modern art for numerous institutions internationally, on artists including Wols, Georg Baselitz, Mark Bradford, Mary Weatherford, Al Loving, Sharon Lockhart, Alex Katz, and Frank Stella. Siegel is a Contributing Editor at Artforum and a Consulting Editor at The Brooklyn Rail; from 2010-2013 she was the Editor in Chief of Art Journal.

Siegel is also Curator-At-Large at the Rose Art Museum at Brandeis University, where her exhibitions have included Pretty Raw: After and Around Helen Frankenthaler (reviewed in The New York Times and the Boston Globe), Light Years: Jack Whitten, 1971-1974 (reviewed in Artforum), and The Matter that Surrounds Us: Wols and Charline von Heyl. Other curated exhibitions include High Times Hard Times: New York Painting, 1967-75, which toured internationally, was widely reviewed, and received an award from AICA.  She is the co-curator with Okwui Enwezor and Ulrich Wilmes of Postwar: Art Between the Atlantic and the Pacific, 1945-1965, opening at the Haus der Kunst, Munich, 2016.

Andrew V. Uroskie

ANDREW V. UROSKIE, Associate Professor
Postwar and Contemporary European and American Art, Moving Image and Sound‐Based Practices, Photography and Performance
Director of Graduate Studies in Art History and Criticism
Ph.D. University of California, Berkeley
Office: Staller Center for the Arts #4221

Andrew V. Uroskie specializes in late modern and contemporary art. His work is broadly informed by psychoanalysis, phenomenology and post-structuralist philosophy, and focuses on how durational media have helped to reframe our understanding of aesthetic production, exhibition, spectatorship, and objecthood in the contemporary era. Uroskie’s long-term interest is to bring together methodologies from art history, film, and media studies in order to provide a more sophisticated aesthetic, historical, and theoretical foundation for the criticism of contemporary audiovisual practices. His research into the history of expanded cinema was awarded the Chancellor’s Dissertation Fellowship at UC Berkeley, and he has held additional research fellowships at the Townsend Center for the Humanities and the Stanford Humanities Laboratory.

His essays have been published in the journals Grey Room (MIT), Animation (Sage),Organized Sound (Cambridge), Sequencias (Universidad de Madrid), Forum Italicum (SUNY), the Journal of Visual Culture (Sage), Millennium Film Journal, and October (MIT), as well as within the edited collections, The Moving Image (Whitechapel/MIT Press), The Exhibition of a Film (Les Presses du Réel), Screen/Space: The Projected Image in Contemporary Art (Manchester University Press), Art and the Moving Image: A Critical Reader (Tate and Afterall), This is Contemporary Art Today (Noosphere), Pierre Coulibeuf: Dédale (Ibère Camargo), Crowds (Stanford), Exhibited Cinema (Institut National de L’Histoire de l’Art), Reanimating Nam June Paik (Nam June Paik Center), Hiding in Plain Sight (Syracuse) and Expanding Cinema: Theorizing Film through Contemporary Art (Amsterdam). His writing has been translated into Spanish, French, Italian, Brazilian, Portuguese, Korean and Basque.

Uroskie is affiliated with Stony Brook’s Graduate Program in Philosophy and the Arts, and regularly conducts graduate seminars on the history and theory of experimental film and video, site-specificity, installation and environment, minimalism across the arts, and interdisciplinary critical methodologies. From 2013-2016, he served as the Director of Graduate Studies for the MA/PhD Program in Art History and Criticism, and he advises dissertations on a wide range of modern and contemporary topics.

Uroskie’s monographic study, Between the Black and the White Cube: Expanded Cinema in Postwar Art, was published in 2014 with the University of Chicago Press, and has been reviewed in Millennium Film Journal, College Art Association Reviews, Critique d’art: The International Review of Contemporary Art Criticism, Afterimage: The Journal of Media Arts and Cultural Criticism, Visual Studies, Choice: American Library Association, the Art Libraries Society of North America, and Leonardo: Journal of Arts, Sciences, and Technology. It will be published in a Korean translation with a new foreward in early 2019 by Hyunsil Press.

He is currently at work on two book projects. The first, The Kinetic Imaginary: Robert Breer and the Animation of Postwar Art, was selected for the Andy Warhol Foundation / Creative Capital Arts Writers Award for Monographic Studies in Contemporary Art. A second book, Remaking Reality: Video Art in the Post-Truth Era, will deal with contemporary video art in the age of social media. He is also writing an essay for catalog of the Pew-sponsored retrospective at Philadelphia’s Lightbox Film Center, Dream Dance: The Art of Ed Emshwiller (2019).

Six of his advisees have secured tenure-track positions in modern and contemporary art history, and three others have secured full-time employment as curators of modern and contemporary art.