Ian Alan Paul

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

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

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

Isak Berbic

ISAK BERBIC, Assistant Professor
Photography, Artificial Lighting, Critical Color, Art Studio, Theory-Research-Practice
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 projects reimagine social and personal narratives to unearth contested histories, and explore stories about geographies, economies, ecologies, archeologies, exchange and transformation. Reframing historical events, borrowing from anecdotes, myths, 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, film and video works, actions, cooking, speeches, texts and publications. He has has exhibited internationally including Marrakech Biennial 2016, BRIC Biennial in Brooklyn, Singapore Biennale 2008, Helsinki Photomedia 2014. Isak is based in Brooklyn, New York.

Toby Buonagurio

TOBY BUONAGURIO, Professor
Ceramic Sculpture and Drawing
Studio Coordinator and Sculpture Director
M.A. City College of New York
Toby.Buonagurio@stonybrook.edu
http://scgp.stonybrook.edu/archives/1334
Office: Staller Center for the Arts #4210

Toby Buonagurio is a lifetime resident of New York City best known for her colorful, offbeat, tongue-in-cheek, ceramic sculpture. She has exhibited her work in 27 solo exhibitions in museums and art galleries in the United States and Japan. Her ceramic sculpture has been included in over 200 international group shows. In 1997 was an invited guest artist at the Shigaraki Ceramic Cultural Park, in Japan, where she created her artwork and later traveled throughout the country for two months. Her work has been written about extensively in national periodicals and professional publications and has been featured in television documentaries on the arts. Her work is represented in numerous private and public collections internationally. Her most ambitious work in ceramic will soon be featured in a vast, permanent public commission, for the New York Metropolitan Transportation Authority for the new Times Square Subway Station in New York City.

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 Co-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.

Christa Erickson

CHRISTA ERICKSON, Associate Professor
Digital Art
Digital Arts Minor Co-Program Director, *Currently on leave
M.F.A. University of California, San Diego
Christa.Erickson@stonybrook.edu
Office: Staller Center for the Arts #4285

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

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.

Nobuho Nagasawa

NOBUHO NAGASAWA, Professor
MFA Graduate Program Director
Sculpture, Installation, Public Art 
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.

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.

Lorena Salcedo-Watson

LORENA SALCEDO-WATSON, Lecturer, Visiting Artist
Printmaking, Intaglio
M.F.A. Stony Brook University
Lorena.Salcedo-Watson@stonybrook.edu
Office: Staller Center for the Arts #4211

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.

Lorena Salcedo-Watson received a B.F.A. degree from the Cooper Union in N.Y.C. and her M.F.A. degree from Stony Brook University.

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.