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 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.



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.

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.
“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:
Times Square-42nd Street

Times Square-42nd Street


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.

Qin Han

QIN HAN, Adjunct Lecturer
Digital Arts, Installation, Printmaking, Video Art
M.F.A. Pratt Institute
M.F.A. China Academy of Art
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.

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.

Bruce Lieberman

BRUCE LIEBERMAN, Adjunct Professor
M.F.A. Brooklyn College
Office: Staller Center for the Arts #421#

Bruce Lieberman has exhibited, lectured and taught internationally. His work is included in various public, museum, corporate and private collections as well as being exhibited in museums and galleries in New York, Long Island and Mexico. He was a recipient of the Charles G. Shaw Memorial Award and a USID award – “Academic Specialist” to the University of Monterrey, Monterrey, Mexico. He was also a nominee for the Louis Comfort Tiffany Foundation, National Academy of Design and The American Academy of Arts and Letters.

Coming up in the New York Figurative art world of the 80’s, Bruce Lieberman is a painter whose work is embedded with humor, narrative and a personal symbolism. His work insists on an “aesthetic autonomy by not shying away from “no-nos” imposed by the contemporary art world, whether he is painting: nudes, garden chaos, dead fish, or the landscape of eastern Long Island. “ (paraphrase Jennifer Samet) Engrossed in a continual search for a personal iconography, his work is an auto-biographical unembarrassed examination with roots in the history of Art. Lieberman ultimately traces his artistic lineage to Hoffmann and to his close association with a group of painters who were responding to the orthodoxy of minimalism and formalist abstraction at the Figurative Alliance in downtown NY.” After a theft of narrative paintings from a show in NY he became associated with the Long Island landscape tradition/movement and was included in Ronald G. Pisano’s book, Long Island Landscape Painting in the 20th Century.

Nobuho Nagasawa

MFA Graduate Program Director
Sculpture, Installation, Public Art, Social Sculpture Practices 
M.F.A. Hochschule der Künste Berlin
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
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.

Mel Pekarsky

MELVIN H. PEKARSKY, Emeritus Professor
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.

Howardena Pindell

Painting, Conceptual Drawing
M.F.A. Yale University
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.

Lorena Salcedo-Watson

LORENA SALCEDO-WATSON, Lecturer, Visiting Artist
Drawing, Printmaking, Intaglio, Experimental Printmaking
M.F.A. Stony Brook University
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

Drawing, Art Studio
M.F.A. Yale University
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.