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
Karen.Lloyd@stonybrook.edu
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 volume Making and Moving Sculpture in Early Modern Italy (Ashgate Press, 2015). Most recently, she has turned to the tensions of image making, art theory, and cult practice in the trans-Atlantic Catholic world in a study of Italian representations of the colonial Peruvian statue of the Virgin of Copacabana. The essay is forthcoming in an edited volume on early modern Italy and the Americas (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. Currently, Karen is the Acting Vice President for Program Coordination of the Italian Art Society.

John Lutterbie

JOHN LUTTERBIE, Professor
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
John.Lutterbie@stonybrook.edu
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
David.Mather@stonybrook.edu
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).

Nobuho Nagasawa

NOBUHO NAGASAWA, Professor
MFA Graduate Program Director
Sculpture, Installation, Public Art, Social Sculpture Practices 
M.F.A. Hochschule der Künste Berlin
Nobuho.Nagasawa@stonybrook.edu
Office: Staller Center for the Arts #4207

Nobuho Nagasawa was educated in Europe and Japan, and received her MFA at Hochschule der Künste in Berlin. Her invitation to the United States came from California Institute of the Arts, where she studied art, critical theory, and music. She is an interdisciplinary artist whose site-specific works explore the places, politics, ecology, and psychological dimensions of space and people. She is interested in socially interactive sculpture, exploring concepts concerning society, culture and politics and the potential for art. Her work involves in-depth research into the cultural history and memory, and extensive community participation. Much of her work expresses her long-term interest in the environment, ecology, and sustainability. She was an Associate Professor at University of California Santa Cruz prior to joining the faculty at Stony Brook in 2001.

Nagasawa’s international exhibition record includes; the Royal Garden of the Prague Castle (Czech Republic), Ludwig Museums (Germany, Hungary), Rufino Tamayo Museum (Mexico), Alexandria Library (Egypt), the Getty Center for the History of Art and Humanities (US) and galleries and museums in the Middle East and Asia. She has been a representative of international Biennials and Triennials; Asian Art Biennial (Bangladesh, 2002), International Art Biennial (Egypt, 2002, 2004, 2005), Sharjah Biennial (United Arab Emirates, 2003), Echigo-Tsumari Triennial (Japan, 2003), Sinop Biennial (Turkey, 2006), Fukushima Biennial (2012) and Setouchi International Arts Festival (2013).

She is a recipient of numerous grants and fellowships including DAAD (German Academic Exchange Service), Berlin State Grant, Rockefeller Grant, California Arts Council Fellowships Award, Brody Arts Fund, and several Japan Foundation Grants. In New York, she was a recipient of the Marie Walsh Sharpe Foundation’s Space Program, and Established Artist Fellowships.

In the field of public art, Nagasawa completed more than thirty public art and intervention projects with successful interdisciplinary collaborations with architects and engineers internationally. They include civic projects such as city halls, government plazas, research laboratories, libraries, greenways, and transportation infrastructure. They range in scale from a 3000-foot long state highway retaining wall and large sculptures integrated within the architecture and landscape, to human-scale projects.

She received several awards including a Design Excellence Award for Architecture and Public Art (Los Angeles, 1997), Art Commission Awards for Excellence in Design (New York, 2006), Design category Merit Award, and Design Excellence Award (San Francisco, 2008 and 2009). Her Austin City Hall and Public Plaza project with architect Antoine Predock was featured as one of the best projects nationwide in the Public Art Review in 2005.

Her works has been published in books including: Japanese Art After 1945: Scream Japanese Against the Sky (Alexandra Munroe, 1994), Lure of the Local: Senses of Place in a Multicentered Society (Lucy Lippard, 1997), Epicenter: San Francisco Bay Area Art Now (Mark Johnstone, Leslie Aboud Holzman, 2002), and Art after the Bomb: Iconographies of Trauma in Late Modern Art  (Darrell Davisson, 2008), and reviewed in Art in America, Art Asia Pacific, Sculpture, The Los Angeles Times, San Francisco Chronicle, Pittsburgh Tribune-Review, and The New York Times by Holland Cotter.

Nagasawa has maintained a balance between producing temporary installations and permanent public art throughout her career, creating a body of work that includes large-scale site-specific installations and architectural interventions as well as intimate studio works. In the last decade she has expanded her interest in materials and their sensory properties, in natural phenomena, and human perception. Using light along with the sound of waves, variations in wind speed, the songs of birds, or a human heartbeat as mediums for communication, she involves people in a perceptual experience by creating new environments. Her installations are always personal, driven by her desire to engage with people and with the poetry of the space.

In New York, Nagasawa completed a Greenway project along a waterfront bike path in 2012. This project received Art Commission Awards for Excellence in Design by the City of New York Board of Cultural Affairs Commissioners, presented by Mayor Michael Bloomberg in 2006. Her work for John Jay College for Criminal Justice near Lincoln Center (2013) is a permanent installation located in the main entrance lobby of the facility. The suspended sculpture of light, created with woven strands of optical fiber, physically and metaphorically emulates a cascading waterfall within the expansive architectural space, symbolizing the “transparency of justice.” The pulsating and oscillating hues of blue light, cascading up and down the length of the fiber tapestry are synchronized with the voice of Dr. Martin Luther King Jr., in his 1963 speech, to create a “mighty stream”, provoking both a historical and current perspective on social justice.

Jason Paradis

JASON PARADIS, Adjunct Lecturer
Drawing, Painting, Idea and Form
A.I.M. Program, Bronx Museum of the Arts
M.F.A. Stony Brook University
Jason.Paradis@stonybrook.edu
Office: Staller Center for the Arts #4283

Jason Paradis is an artist and curator from Canada who now lives and works in the New York area.  In his work, there is a sense of contemplation or of reverie that speculates on fundamental mysteries – this being the result of a lot of camping under an expansive sky in the northern Canadian wilderness.  His work has been displayed in several exhibitions in and around New York City as well as across the United States and Canada.  Recent exhibitions have been at the Saratoga Art Center, the Ann Street Gallery in Newburgh, and OMNI Gallery in New York.  Solo shows have been at Twist, etc and Seed Space in Nashville, St. Joseph’s College, and Modern Fuel in Kingston, Ontario Canada.  He regularly curates for the Carriage House at the Islip Art Museum.

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
Zabet.Patterson@stonybrook.edu
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.

 

MEL PEKARSKY

MELVIN H. PEKARSKY, Emeritus Professor
Painting
M.A. Northwestern University
Office: Staller Center for the Arts #2224

Mel Pekarsky studied painting, art history and theory at the School of the Art Institute of Chicago and Northwestern University, earning both his undergraduate and graduate degrees at Northwestern. He taught at Northwestern, Kendall College, the School of Visual Arts, and New York University before coming to Stony Brook, where he has served the Department of Art as Chair, Studio Programs Director, and MFA Director. He was a founding member of City Walls, Inc., an artist-run public art corporation that evolved into New York’s Public Art Fund. He has long been engaged with environmental issues, and designed the posters for the first Earth Day. His work has been shown in the United States and abroad, and his paintings, drawings, prints and artist’s books, ranging from wall to pocket-size, are included in many public, private and corporate collections. For over four decades, Pekarsky’s work has focused on images of the desert as icons of the earth’s fragility, and on the tense and provocative relationship between abstraction and representation.

Lisa Perez

LISA PEREZ, Graduate Secretary
Lisa.A.Perez@stonybrook.edu
Office: Staller Center for the Arts #2228
Phone +1 (631) 632-7270

Lisa has been with the Art Department since Fall 2005. She has been employed by Stony Brook University since 1991. Previous to working in the Art Department, Lisa was Secretary to the Associate Dean of Students in the Office of Commuter Student Services/Dean of Students Office.

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

Howardena Pindell

HOWARDENA PINDELL, Professor
Painting, Conceptual Drawing
M.F.A. Yale University
Howardena.Pindell@stonybrook.edu
Office: Staller Center for the Arts #4211

 

Howardena Pindell received an MFA from Yale University’s School of Art and Architecture in 1967 and a BFA in Painting from Boston University’s School of Fine and Applied Arts in 1965. She has two Honorary Doctorates, one from the Massachusetts College of Art in Boston Massachusetts and one from Parson School of Design/The New School University, New York She worked for 12 years at the Museum of Modern Art in New York and was an Associate Curator of Prints and Illustrated Books. She has taught at Stony Brook in the Art Department since 1979. She was a visiting Professor of Art at Yale University’s School of Art from 1995 to 1999. She has received numerous grants and awards including the Guggenheim Fellowship, two National Endowment for the Arts grants, a Joan Mitchell Grant, a Studio Museum in Harlem Artist Award as well as the Most Distinguished Body of Work or Performance Award in 1990 from the College Art Association. Her work is in the collection of the Metropolitan Museum of Art, New York, The Museum of Modern Art, The Whitney Museum of American Art, The Yale Art Museum, New Haven, The Fogg Art Museum, Harvard University, The Rhode Island School of Art Museum among many others. A book of her writings ” The Heart of the Question,” was published in 1997 by Midmarch Arts Press, New York.

Edward Quinn

ED QUINN, Staff Associate
SUNY Stony Brook / Theatre Arts / Art Department

M.S. Stony Brook University
Edward.Quinn@stonybrook.edu
Office: Staller Center for the Arts #2226

 

Dan Richholt

DAN RICHHOLT, Lecturer, Instructional Support Technician
Sculpture
MFA Stony Brook University
Dan.Richholt@stonybrook.edu
Office: Staller Center for the Arts #4283

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
James.Rubin@stonybrook.edu
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.

Lorena Salcedo-Watson

LORENA SALCEDO-WATSON, Lecturer, Visiting Artist
Drawing, Printmaking, Intaglio, Experimental Printmaking
M.F.A. Stony Brook University
Lorena.Salcedo-Watson@stonybrook.edu
Office: Staller Center for the Arts #4294

Lorena Salcedo-Watson is an artist and printmaker. Her current work consists of large-scale drawings and prints. Her imagery focuses on the relationships between the structures and essential qualities of life forms. Based on a fascination with human anatomy, botany, and entomology, her imagery transforms and re-interprets aspects of nature, filtering through personal experience, observation, and imagination.

Her professional work has primarily been in the field of printmaking. She worked at Universal Limited Art Editions (U.L.A.E.) for fourteen years as a master printer and collaborator. She was involved in developing projects utilizing a broad range of printmaking techniques including intaglio and photogravure, stone and plate lithography, as well as relief printing, silkscreen, and monotype. Artistic collaborations involved traditional as well as unconventional approaches to printmaking. Multi-media projects include: limited edition books, three-dimensional assembled prints, and hand-sewn three-dimensional multiples. She has worked with artists including; Elizabeth Murray, Terry Winters, Jasper Johns, Robert Rauschenberg, James Rosenquist, Kiki Smith, Suzanne McClelland, Carroll Dunham, Susan Rothenberg, Julian Lethbridge, Jane Hammond, Lisa Yuskavage, Ellen Gallagher, and Malcolm Morley.

She taught intaglio printmaking at Cooper Union, is on the faculty of St. Joseph’s College, and currently teaches lithography at Stony Brook University.

Recent exhibitions include the Marist College Art Gallery, the Jeanie Tengelsen Gallery of the Long Island Art League, the Center for Contemporary Printmaking in Norwalk, CT., the Patchogue Arts Council Biennial Exhibition, the OMNI Gallery in Uniondale, and the Bendheim Gallery of the Greenwich Arts Council in Connecticut.

Maya Schindler

MAYA SCHINDLER, Lecturer
Drawing, Art Studio
M.F.A. Yale University
Maya.Schindler@stonybrook.edu
Office: Staller Center for the Arts #4280

Maya Schindler (b. 1977 Jerusalem, Israel) received an MFA from Yale University in New Haven, Connecticut,  a BFA from the Bezalel Academy of Art and Design in Jerusalem, Israel. She  studied with the MA Student Exchange program for honors students at the School of the Musuem of Fine Art in Boston in 1999. She has held residencies at Meádiáum in St. Barthlemy, French West Indies,  CORE Fellow in Houston, Texas.

Selected solo exhibitions include Wishful thinking Wishful (part of Plastic poetics) at Miller Gallery, Carnegie Mellon University, in Pittsburgh, Pennsylvania ; We Make It Harder Then It Has To Be at the Glass Pavilion in Berlin ; Happy Endings at Meádiáum Gallery in St. Barthlemy, French West Indies ; Just Thinking at Devin Borden Hiram Butler gallery in Houston, Texas ; The New Deal at Anna Helwing Gallery in Los Angeles ; andIn Confidence at South First in Brooklyn. Selected group exhibitions include In The Beginning at UCSD Art Gallery in San Diego, California ; Stoneface at FOCA in Los Angeles ; Aporia at LACE in Los Angeles ; and In The Time Tunnel at Braverman Gallery in Tel Aviv.  Maya lives and works in Long Island NY.

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
Katy.Siegel@stonybrook.edu
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.