Noga Bernstein is a PhD candidate, specializing in modern art and design in the United States. Her dissertation examines the work of textile designer, painter and educator Ruth Reeves, focusing on her use of Indigenous American art. Noga is the recipient of the Luce/ACLS Dissertation Fellowship in American Art (2017-2018), a Smithsonian Predoctoral Fellowship hosted at Cooper Hewitt National Design Museum, a Research Grant awarded by the Center for Craft, Creativity & Design, and several Stony Brook University fellowships and awards.
Prior to joining Stony Brook’s graduate program, Noga completed her Master’s degree at Columbia University, where she wrote her thesis on contemporary art in Israel. Noga have taught courses in modern art and American craft at Stony Brook and the Fashion Institute of Technology.
Sandrine Canac is a PhD candidate specializing in postwar American art. Her dissertation dedicated to the early work of the Conceptual artist Robert Barry will be the first scholarly project to provide a thematic examination of the artist’s work within a renewed theoretical framework that challenges established assumptions.
Sandrine was a recipient of a 2016 Terra Summer Residency fellowship, and of the 2015/16 Graduate Fellowship & Faculty Research Program at Stony Brook (AHLSS). She recently was a Helena Rubinstein Fellow in Critical Studies at the Independent Study Program of the Whitney Museum of American Art, completed a Graduate Certificate in Art and Philosophy, and received the Goldberger Felllowship for academic excellence. Prior to her work at Stony Brook, Sandrine studied at the school of Arts Plastiques et Sciences de l’Art of the Université Panthéon-Sorbonne in Paris, where she earned a B.A in Cultural Analysis and Theory and a M.A. in Aesthetics and Art Sciences. Along with her expertise in late modern American Art, Sandrine has a strong interest and significant experience working with international contemporary artists and has facilitated a number of interdisciplinary projects in New York, Paris, and London.
Charles Eppley is a PhD candidate working on the history of sound in modern and contemporary art. His research analyzes the role of sound in postwar installation and performance practices, particularly as they intersect with theories of site-specificity, materiality, and mediation. Continue reading “Charles Eppley”
Nikki Georgopulos is a MA/PHD student studying nineteenth-century French art. Her research primarily focuses on the painting of Edouard Manet and early discourses surrounding Realism, namely questions of religion and mythology in a post-Enlightenment context, the formulation of a Realist imaginary, the shifting status of the female body and its role as both a consumer and an object of consumption, and the phenomenological nature of the encounter of both the artist and the viewer with art at large. Continue reading “Nikki Georgopulos”
Focusing on artists Guy Debord, Samuel Beckett, John Cage, William S. Burroughs, and Daniel Spoerri, Gerald Hartnett’s in-progress dissertation examines experimental, interdisciplinary art of the 1950s and early 1960s that engaged the tools and codes of technical reproducibility, cybernetics, informatics, and indeterminacy. Continue reading “Gerald Hartnett”
Postwar and Contemporary American Art; History of Cybernetics; Public Art
Catherine Howse began her PhD at SBU in 2016, after working on the pioneering Lázló Moholy-Nagy exhibition in the Photography Department at the Art Institute of Chicago. She received her MA in Modern and Contemporary Art History in 2012 from University College Cork, Ireland; her MA thesis investigated the technological and psychological terms of contemporary self-portraiture. Howse’s research interests include collage and contemporary photography.
Kirsch-McDonald’s research concerns analog and digital machines, intermedia and transcendent media, and the history of video art. While working on her PhD in Art History at Stony Brook University, she has received a DAAD grant to study computer prototypes at the Ulm School of Design. In 2016, she co-organized a panel on International Cybernetics for SECAC. In 2017, she will present a paper on Les Levine at the Society for Cinema and Media Studies conference; additionally, she will attend the Princeton-Weimar Summer School for Media Studies at Bauhaus University’s International Research Institute for Cultural Techniques and Media Philosophy (IKKM) in Weimar, Germany. Kirsch-McDonald holds an MA in Art History from the School of the Art Institute of Chicago and BA degrees from the University of Texas in Art History and English.
Sophie Landres is a curator and PhD candidate specializing in postwar and contemporary art. Her dissertation, “Body, Law, Instrument: Charlotte Moorman’s Early Performances with Nam June Paik” examines how Moorman and Paik adapted musical practices to contest social and compositional control over performing bodies. Sophie received her Master’s Degree in Art Criticism and Writing from the School of Visual Arts and her Bachelor’s Degree in Political Science from the University of Iowa. From 2014 to 2015, Sophie was the Mellon Global Initiatives Fellow, helping develop Creative Time’s project for the Venice Biennial’s 56th International Art Exhibition. She has also curated exhibitions throughout New York City and most recently, in Marfa, Texas. Sophie previously taught at New York University’s Gallatin School of Individualized Study and currently teaches a writing and curatorial studies course at the Sotheby’s Institute of Art. Her essay on the performances bookending Moorman’s trial for indecent exposure will appear in the Spring 2017 issue of Art Journal.
Joo Yun Lee is a PhD Candidate, curator, and writer working on the intersection of art, science, and technology in modern and contemporary art. She finds her specific interests in ontology, materiality, spatiality, and the senses of computational media and its social political implication in contemporary art and visual culture. Continue reading “Joo Yun Lee”
Emily Leonardo is a PhD student specializing in twentieth-century Europe and America, specifically focusing on the exchange between postwar France and the United States. Her research considers alternative exhibition practices and shifting modes of curatorial display, with particular attention given to phenomenology, spectatorship, and documentation. She is also interested in the notion of privacy as it relates to architecture, architectural decoration, and interior design. Continue reading “Emily Leonardo”
Kara Li is a PhD student specializing in contemporary East Asian art, focusing primarily on transnational Chinese artists and Inter-Asia connections. She is also interested in art collecting and emerging art markets. She holds a MA in History of Art and Archeology from the Institute of Fine Arts, NYU, and a BA in Art History from Duke University.
Nicholas Parkinson is a PhD candidate specializing in the history of nineteenth century European art and criticism. His dissertation, titled “The Image of the North: the Critical Reception of Nordic Art in France, 1878-1900,” traces the history of French interest in Scandinavia and Finland to examine how perceptions of northernness influenced how Nordic art was understood and discussed. He is broadly interested in transnational approaches to art history, the history of aesthetic theory, and fin-de-siècle art and culture. Continue reading “Nicholas Parkinson”
Amy Rahn is an arts writer, curator, and PhD candidate studying 20th century American art. Her dissertation concerns the French contexts of American Abstract Expressionist painter Joan Mitchell.
Amy earned a B.A. in Art and Art History at Albion College and an M.A. in Art History and Criticism at Stony Brook University. In 2014-15, she taught courses on Art History and Art Theory at Albion College. She is a Graduate Council Fellow and a recipient of the Maurice and Miriam Goldberger Scholarship. Her dissertation research was recently supported by a GSEU Professional Development Award.
Sierra Rooney is a PhD candidate at Stony Brook University specializing in public art and commemorative practices in the United States. Her dissertation examines the growing corpus of monuments dedicated to American women since 1980.
Her writing has appeared in Public Art Dialogue journal, the International Sculpture Center Press publication, Artists Reclaim the Commons: New Works/ New Territories / New Publics and the forthcoming anthology, Museums and Public Art. She is currently the editorial assistant for Public Art Dialogue.
Prior to joining Stony Brook’s graduate program, she received an MA in Art History from The City College of New York, CUNY, where she was the recipient of the Connor Fellowship. She is a Graduate Council Fellow at Stony Brook and a recipient of the United States Capitol Fellowship.