Kate Bonansinga, Director, School of Art
Kate Bonansinga is Director, School of Art, College of Design, Architecture, Art and Planning at University of Cincinnati where she is also associate professor. From 2004-2012 she served as founding director of Stanlee and Gerald Rubin Center for the Visual Art at The University of Texas at El Paso where she curated dozens of exhibitions and also established an undergraduate minor in museum studies. She is in interested in museums as dynamic sites for learning, in the impact of art in gallery and non-gallery settings, and in the current methods that artists employ to make a difference in society and culture. In 2016 she earned a CEC ArtsLink Curatorial Fellowship in St. Petersburg, Russia and also curated Unraveled: Textiles Reconsidered at the Contemporary Arts Center in Cincinnati, Ohio. Bonansinga is the author of Curating at the Edge: Artists Respond to the U.S./Mexico Border (University of Texas Press, 2014) and of a chapter in Born of Resistance, edited by Scott L. Baugh and Victor Sorell (University of Arizona Press, 2015). She curated Staged Stories: 2009 Renwick Craft Invitational at the Smithsonian American Art Museum, and since 2002 has served as a national art peer for the General Services Administration’s Art-in-Architecture program.
Joe Girandola, Director of Graduate Studies
Joe Girandola is a professional artist from Baltimore, Maryland and has exhibited work at the Museum of Contemporary Art (Geffen Contemporary), Los Angeles; Kunsthalle Wien, Austria; Kwangju Biennial, South Korea; Atlanta, and the Center for Contemporary Art (Nexus) Biennial, Georgia. He is the recipient of a Pollock-Krasner Foundation Grant, and was Assistant Director for the Santa Fe Art Institute(NM) from 2002- 2004. In addition to the Pollock-Krasner Grant, Girandola has been awarded an Adolph and Esther Gottlieb Grant, Change, Inc. Grant, and an Artists Fellowship, Inc. Grant. Girandola has received artist fellowships at The MacDowell Colony, Bemis Center for Contemporary Arts, Santa Fe Art Institute, DUCTAC Art Center(Dubai), and at the Caldera Artist Residency Program. His work is included in collections nationally and internationally and was a West Prize winner in 2012. Girandola was the Residency Director of theBemis Center for Contemporary Arts from 1998-2002 and was the Director of the MFA Program at the University of the Arts, Philadelphia from 2009-2012. He is currently the Director of Graduate Studies in Fine Arts at the University of Cincinnati in the College of Design, Architecture, Art and Planning.
Katie Parker was born in 1980 in Jonesboro Arkansas, and grew up in Plano, Texas. She attended the Kansas City Art Institute from 1999-2003 and received a BFA degrees in ceramics, going straight to The Ohio State University for an MFA, received in 2005. Currently, Katie is an Associate Professor of Art at the University of Cincinnati, running the ceramics department. Since 2008 she has collaborated with Guy Michael Davis under the name Future Retrieval, combining new technology with porcelain and good craft . The objects merge the strengths of their individual studio practices – a dark vein of curiosity backed by a historical current. They have exhibited both nationally and internationally, and are represented by Denny Gallery in New York City. Recently Katie has been an artist in residence at the Bemis Center for Contemporary Art, The Pottery Workshop, Jingdezhen, and Watershed Center for the Ceramic Arts. She was awarded a Smithsonian Artist Research Fellowship in 2016, supporting her research at the Copper Hewitt National Design Museum. This summer she will be an artist in residence at IASPIS in Stockholm Sweden.
Guy Michael Davis was born in Bartlesville Oklahoma, and attended the Kansas City Art Institute from 1999- 2003 where he achieved a Bachelor of Fine Arts Degree. He then attended the Ohio State University from 2006 -2008 acquiring a MFA in fine arts. Guy Has also participated in national and international artist residencies including Richard Carter Studio in Pope Valley, CA, the Dresden porcelain Manufactory in Dresden Germany, the International Ceramic Symposium in Wlabzrych, Poland, and the Pottery Workshop in Jingdezhen, China.
Charles Woodman has been working in the field of Electronic Art for many years and has been a Professor of Fine Arts at the University of Cincinnati since 1999. His recent projects have concentrated on the creation of multi-image video installations for museums and galleries, and the integration of video with live performance, often in collaboration with musicians or dancers, Exhibitions of his work include screenings at the Museum of Modern Art in New York, the Block Museum of Art in Chicago, the Black Maria Film and Video Festival, Edison, NJ, the American Dance Festival, Raleigh, NC, and the San Francisco Cinematheque. Woodman was a founding member of the video performance group viDEO sAVant and has been a pioneer in the development of live cinema - real time video editing as live performance. Recent viDEO sAVant appearances include performances at Albright Knox Art Gallery, Buffalo NY, MATA Festival, Brooklyn, International House, Philadelphia, New Genres Festival, Tulsa and the Herron School of Art, Indianapolis.
Amanda Curreri Born in Boston, MA. Represented by Romer Young Gallery, San Francisco, CA. Amanda Curreri is an multi-disciplinary artist and educator. She presents personal and social histories towards public experiences of intersubjectivity. Informed by social activism and built within the vernacular of visual language, her work creates frameworks for rethinking power relationships. Curreri has recently exhibited at the Asian Art Museum, SF; Yerba Buena Center for the Arts, SF; Ortega y Gasset Projects, NY; Rochester Art Center, MN; and the Incheon Women’s Biennale, Korea. She is a recipient of a Joan Mitchell Foundation Fellowship (2009) and a SF Guardian Goldie Award (2010). Curreri holds an MFA from the California College of the Arts, a BFA from The School of the Museum of Fine Arts, Boston, and a BA from Tufts University in Sociology and Peace & Justice Studies. Curreri is represented by Romer Young Gallery in San Francisco, California. Collaboration is also core to Curreri’s work and takes many forms. Curreri is part of the collaborative working-group, ERNEST. In September 2015, ERNEST premiered a multi-part artwork, Demos: Wapato Correctional Facility, in Portland, OR that was the result of a two-year artist residency (with c3:initiative) focused on Wapato, an empty “mothballed” jail in the community. For more info: iamernest.us and c3initiative.org
Benjamin Britton received his M.A. degree from the Goddard Graduate Program at Vermont College in 1983 and his M.F.A. degree from the San Francisco Art Institute in 1991. He is currently Associate Professor of Art at the College of DAAP at the University of Cincinnati. He has exhibited his work at the New Museum of Contemporary Art, Museum of Modern Art in New York, Institute of Contemporary Art in Boston, Contemporary Art Center in Cincinnati, Ars Electronica Museum in Linz, Austria, Stedelijk Museum in Amsterdam, The Getty Museum, American Film Institute, Epcot Center in Florida, and many other locations nationally and internationally. Britton conducts sponsored research in the fields of art and science from institutions such as the Ohio Board of Regents, Ohio Arts Council and The National Endowment for the Arts, centered on using computer media as a tool for the creation of works of art. His students have achieved success in the areas of fine arts, design, and digital media production. He teaches graduate and undergraduate courses in animation, video and electronic art, serves as a Faculty Advisor for the Video Games Graphics Group (VG3), and is a co-founder of the Center for Electronic Reconstruction of Historical and Archaeological Sites (CERHAS) at UC. Currently he is working with fused glass and experimental printing for a project about Air.
Denise Burge received her MFA in Painting from Virginia Commonwealth University in 1992, and since has taught at the New York State College of Ceramics and the University of Cincinnati, where she is a Professor of Art. She teaches courses that range from seminars on film theory to fiber art. She works in a variety of media, including drawing, film, and quilt making. Her quilt work has been widely commissioned and collected, and was included in two Quilt National exhibitions. For this work she has been awarded multiple Ohio Arts Council grants, residencies at the Headlands Center for the Arts and the Fine Art Work Center in Provincetown, and a Joan Mitchell Foundation award. In 2006 she formed a collaborative animation group called "The Dozens". Their work premiered at the Fringe Festival in Edinboro, Scotland, and has been in several national and international film festivals. Her most recent work involves video installation, which also incorporates fibers, and her collaborative group Maidens of the Cosmic Body Running exhibited at the Contemporary Art Center in Cincinnati in 2011. Recently the group created an installation for the utopian community New Harmony, Indiana, and currently are exhibiting at the Kentucky Museum of Art and Craft. Burge has been awarded a residency at the Joan Mitchell Center in New Orleans for May of 2017.
Jordan Tate is an Associate Professor of Art at the University of Cincinnati. Tate, a Fulbright Fellow (2008-2009), has a Bachelor of Philosophy in Interdisciplinary Studies from Miami University and a Master of Fine Arts in Photography from Indiana University. Tate’s work is currently held in collections nationwide, including Rhizome at the New Museum, the Museum of Contemporary Photography, The Bidwell Projects, the Cincinnati Art Museum, The Columbus Museum of Art, and the Museum of Fine Arts, Houston. Recent exhibitions of his works include: Ditch Projects, Denny Gallery (NYC), Transformer Station Art Museum, New Shelter Plan (DK), PH Gallery (UK), Higher Pictures (NYC), The Photographers Gallery (London, UK), and the Museum of Contemporary Art, Cleveland.
Honored with numerous grants and fellowships from such institutions as the National Endowment for the Arts and the Ohio Arts Council, Kimberly Burleigh has shown her work in over 200 exhibitions throughout the United States and abroad. She works with a variety of mediums, including; painting, drawing, collage and computer imaging and 3D animation. Solo and group exhibitions include “MADATAC06” (Madrid), “the SPIRITUAL MACHINE” Anthology Film Archives (NYC), Mykonos Biennale (Mykonos), “Seattle Transmedia & Independent Film Festival” (Seattle), Alchemy Film and Moving Image Festival” (Hawick, Scotland), “8th Rencontres Internationales Sciences et Cinémas” (Marseilles), “Experiments in Cinema Festival v10.T36” (Albuquerque), Australian International Experimental Film Festival; Carnegie Mellon University Miller Gallery (Pittsburgh); SIGGRAPH 2001 (Los Angeles); CEPA Gallery (Buffalo); Galerie Toner (Sens en Bourgogne, France); The Print Club (Philadelphia); Galerie 1900-2000 (Paris); Contemporary Art Center (Cincinnati); Feature (Chicago); Pittsburgh Plan for Art; and the New York City locations of Franklin Furnace Archives, Terry Dintenfass Gallery and Greathouse. She was an artist-in-residence at the Headlands Center for the Arts (Sausalito) and the Fine Arts Work Center (Provincetown, MA). She is currently Professor of Fine Arts in the College of Design, Architecture, Art and Planning at the University of Cincinnati. You can find more information about her work at www.kimberlyburleigh.com.
Since 1996 Matt Lynch has collaborated with artist Steve Badgett under the name SIMPARCH. SIMPARCH utilizes experimentation, common materials, and alternative building practices to create intuitive installations and large-scale artworks that examine the built environment through site-specific projects. Acting as sites for communal interaction and social exchange, these structures infuse the languages of art and architecture with a desire to connect a diverse range of participants. SIMPARCH recently completed a permanent commission by the General Services Commission for a new Land Port of Entry in Fabens, TX. Other recent projects include a contribution to Louisville's public art initiative. Recently, Matt has been working with University of Cincinnati MFA, Curtis Goldstein, on a reinterpretation of Winold Reiss’s “Worker Murals”, commissioned for Cincinnati’s Union Terminal in 1931. The project revisits Reiss’s subject but thru the iconic laminate produced by Formica rather than the glass tile originals. Matt holds an MFA from Syracuse University and a BFA from Ball State University and is an Associate Professor of Sculpture at the University of Cincinnati.
Research: historical avant-gardes; imagery of intoxication as utopian representation; experimental sound; radical aesthetics.
Education: Painting MA, Royal College of Art, London; Continental Philosophy MA, University of Warwick, Coventry; Philosophy PhD, Goldsmiths College, London.
Teaching: School of Art Professor, University of Cincinnati; Lecturer Critical Studies, Art Department, Goldsmiths College, London; Artist in Residence, Mount Royal MFA, MICA, Baltimore.
Recent exhibitions: “High Times,” Wellcome Collection, London, (2011); “London Open”, Whitechapel Gallery, (2012); Delaware Center for the Contemporary Arts (2014), Cherry & Lucic, Portland, OR, (2015); Contemporary Arts Center, Cincinnati (2015), Zephyr Gallery, Louisville (2016); Root Division, San Francisco (2016); Wave Pool, Cincinnati (2016), and ICA, London (2016).
Recent performances: “Bad Music Seminar 2,” The Showroom, London (2014); ‘Bad Music Seminar 3, 4, and 5, The Horse Hospital, London (2015); “Bad Music Seminar 6,” Wave Farm, NY (2015); John Cage’s ‘Variations II (with turntables),’ Carnegie, Covington, KY (2016); “Bad Music Seminar 7,” Wave Pool, Cincinnati (2016); ‘Bad Music Seminar 8,” UIC Chicago, (2016).
Warhol Foundation/Creative Capital Art Writers Grant, (2009). Recent published writing includes: ‘Pipilotti Rist's Music’ (2009); ‘Marcia Farquhar: Chelsea Hotel, March 14, 2008’ (2009); ‘A Local Culture: tradition and risk in Cincinnati’, (PAFA, 2011); essay in West of Center, University of Minnesota Press, (2011); “The Materiality of Water,” Aesthetic Investigations, (2015); “Another Minimalism” Art Monthly, (2016); “What Strategies Enable Women Artists’ Self-Determination Today?,” C21 RECENT HISTORY, (2016); “Sharon Hayes,” Studio Voltaire, London, Artforum.com, (2016); “Intoxicating Painting,” Journal of Contemporary Painting, (forthcoming 2016).
Jenny Ustick is Assistant Professor of Practice at the University of Cincinnati, and was Visiting Assistant Professor of Art at Grand Valley State University in Allendale, Michigan 2008-2011. She earned a BFA from the Art Academy of Cincinnati in 2000, and an MFA from the University of Cincinnati in 2005, where she was awarded a Wolfstein Traveling Fellowship. Ms. Ustick’s studio practice is quite diverse, ranging from drawing and painting to video, sculpture, fibers, and installations. She is a member of the collaborative group Maidens of the Cosmic Body Running, mounting a group exhibition at the Kentucky Museum of Art & Craft in 2016, and a solo exhibition at the Lois & Richard Rosenthal Center for Contemporary Art in 2011. With the nonprofit organization ArtWorks, Ms. Ustick has served as Project Manager and Lead Artist on ten prominent murals, making significant contributions to Cincinnati’s public art landscape. In 2015, Ms. Ustick completed a mural with artist Robert Lazzarini in Miami Beach for Art Basel Miami Beach, and is working to acquire international street art opportunities.
Fabiola Menchelli’s work investigates the limits of photography through the language of abstraction. Using light as the raw material, the work seeks to explore essential ideas about photography in relation to painting, sculpture, drawing and new media. Her creation process questions the materiality of the image in order to explore photography as a poetic space. Menchelli graduated from Massachusetts College of Art with an MFA in Visual arts and Photography and holds a BA in Arts from Victoria University in Melbourne, Australia. She has participated in national and international art exhibitions and juried shows including in México, US, Canada, UK, Sweden, Australia and United Arab Emirates. She has been invited to significant artist residences including Skowhegan School of Painting and Sculpture, Bemis Center for Contemporary Arts and Casa Wabi. She’s been awarded several honors including the FONCA Young Creators Grant, the Fulbright – García Robles Fellowship the FONCA-CONACYT grant for studying abroad and the MassArt Dean’s Award for Fulbright Scholars. In 2014 she was awarded the Acquisition Prize for the XVI National Biennale of Photography from the Centro de la Image in México. She lives and works in México City and her work is represented by Yautepec Gallery.
Welly Fletcher is sculptor and educator based in Cincinnati OH & Oakland CA. Fletcher creates immersive sculptures that offer a direct, physical experience. Recent artworks specifically address questions of personal empowerment and the possibilities of transformation, while employing forms familiar to our everyday lives such as clothing, costume, and furniture. Fletcher is a 2009 Murphy and Cadogan Fellowship recipient, a 2010 Barclay Simpson Award recipient, 2013 A1 Travel Grant recipient. She was an artist in residence with the Sedona Summer Colony in 2016, and an Anderson Ranch Artist in Residence in 2013. Fletcher earned her MFA degree at California College of the Arts in 2010, and her BA from Dartmouth College in 1999. www.llfletcher.com www.iamernest.us
Farron Allen grew up in the mountains of West Virginia, the product of three generations of coalminers. His art work can be found in the public collections of the Cincinnati Art Museum and the Cincinnati Public Library. He received a Summerfair grant to the Individual Artist and Fellowship Grant from Kroger Foundation. Allen was one of five American artists to be selected for an international art exchange with Germany, China, and Cuba. His work is represented in Cincinnati Portfolio and has been exhibited and collected nationally and internationally.
Kate Ball- Statement: I make stop-motion animations that feature characters I create from traditional printmaking processes. I cut images from my etchings and collagraphs, and use found objects and collages to make the sets and props. My integration of traditional fine art, found images, and new media allow me to create an aesthetic that is novel, yet eerily familiar. My sets are reminiscent of a child's play-space or children's book with exaggerated textures, simple shapes and improvisational movement. The aesthetic of my videos is playful, often in contrast with the surreal content. In animating my prints, I am able to create personal narratives that engage the viewer. My recent animations explore the delusions and illusions of human-animal interactions, where curiosity and compassion often result in confusion or corruption. I seek to demonstrate the perplexity of human attitudes towards animals. In one of my animations, a taxidermy bird meets a flock of live birds and the viewer must question why the bird was taxidermied and how the birds react to this artificial resurrection. Stop-motion animation is perfect for these themes because one object is easily transformed into another. Something that is recognizable and comfortable could suddenly become bizarre. The reality I construct with my videos is constantly changing and unsettled. There is a curious truth to my fiction, and the viewer realizes reality is even more strange.
Dr. Bain Butcher is a conceptual figurative artist who exhibits nationally and maintains a studio in Cincinnati, OH. He received his MFA in painting from the New York Academy of Art in 2006 where he studied with leading contemporary figurative painters. Prior to his time in New York, he studied at Davidson College, the Pacific Northwest College of Art, and the University of Cincinnati where he received an MD degree. In 2013-14, Bain was the Darwin Lambert Artist in Residence at Great Basin National Park where he worked with an interdisciplinary team studying the Bristlecone Pine. He has won numerous awards and his work has been included in publications such as Fine Art Connoisseur Magazine, the International Drawing Annual 6 (INPA 6), and the International Painting Annual 2 (INPA 2). He was named a semi-finalist in the 2009 Outwin Boochever Portrait Competition at the Smithsonian’s National Portrait Gallery. In addition to his studio practice, Bain is an Associate Professor with a joint faculty appointment in the School of Art and the College of Medicine at the University of Cincinnati. He is active in developing trans-disciplinary arts-integrated research opportunities for students and faculty at UC.
Jesse Ring was born 1984 in an octagonal home that his father built on Seven Springs Cooperative in Eastern Missouri. Growing up as the son of an inventive carpenter was the beginning of his arts education. He received his BFA in 2006 from the Kansas City Art Institute. Over the next seven years he moved twelve times between nine states to pursue artist residencies and other opportunities that expanded his studio practice. In 2015 he received his MFA from the New York State College of Ceramics at Alfred University. Jesse was a 2016 visiting artist at CAFA City Design School in Beijing China, and recipient of the Windgate Fellowship for craft media artists at the Vermont Studio Center. Currently he is a visiting artist and professor of ceramics at the University of Cincinnati in the College of Design Art Architecture and Planning. His work has been exhibited at The Alfred Ceramics Museum in Alfred NY, The Burchfield Penny Museum in Buffalo NY, and the Aspen Art Museum in Aspen CO. He has shown consistently in the US since 2006 and internationally in Beijing this past spring. Educated as a ceramic artist, his interdisciplinary sculpture practice approaches material as image and meaning through transmuting it into representational form. His finished sculptures are composed as scene, still life, or collection; intended to present a narrative structure through material, image, and space. See his work at JesseRing.com and follow his studio process @jesse.ring on Instagram.
Dr. Flávia Bastos experiences with teaching, research and academic leadership, along with her current role as Director of Graduate Studies in Visual Arts Education have provided a platform to explore the dialectics of local and international influences in art education theory and practice. She completed her doctorate in Curriculum and Instruction at Indiana University in 1999. Since then she has been committed to building transformative connections between art education and communities through publications, editorial work, public speaking, teaching, and service based on contemporary understandings of community, culture, and art that are informed by transformative educational models. Her contributions to the art education profession have been recognized with the Mary J. Rouse Award (2006) and the Ziegfeld Award (2008). These two significant honors suggest the relevance of her scholarship and practice in the field and have grounded her service as senior editor of the Journal of Art Education (2009-10). Her leadership in the field of art education extends beyond the program at UC, informing her election to Higher Education Division Director (2013-15) for the National Art Education Association and selection the Council of Policy Studies in Art Education in 2012.
Cal Cullen is a multimedia artist, arts educator, and curator. She is the founder and Executive Director of Wave Pool Arts Center, a gallery, studio space, and socially-engaged artist residency program in Cincinnati, Ohio. She has previously worked in the education department of SFMOMA as well as for the Community School of Music and Arts in Mountain View, CA and was director of the Adobe Books Backroom Gallery in San Francisco, CA. Cullen has shown her work widely throughout the US and internationally. She has had solo shows at Market Street Gallery, Million Fishes in San Francisco, Edison College in Dayton, OH, and Semantics in Cincinnati. She has been an artist in residence at Kala Art Institute in Berkeley, CA, Lo Studio di Nipoti in Calabria, Italy, the Children's Creativity Museum (Zeum) in San Francisco, CA, and the Center for Great Neighborhoods in Covington, KY. As a curator she has organized exhibitions at a variety of spaces, including the Clifton Cultural Arts Center, Adobe Books Backroom Gallery, and most recently, Wave Pool. In 2013 she won a curatorial residency at SOMArts, which resulted in the exhibition Dial Collect. In all that she does, Cullen strives to create empathy and understanding through her work.
Geoffrey "Skip" Cullen is a conceptual artist currently working in Cincinnati, Ohio. His work has covered a range of subjects including Geometric Formalism, Absurdity, and Economic Systems. Cullen has shown his work widely throughout the US, including having work in New York, Miami, Chicago, and San Francisco. Cullen is also one member of a four-part artist collective named Slapface. The group continually finds new ways to engage the public using large scale, colorful, and absurd art installations commenting on advertising and marketing in capitalism. He is a founding member of the Adobe Books and Arts Cooperative in San Francisco and is currently the President of the Board for Wave Pool Contemporary Art Fulfillment Center in Cincinnati.
Carol Tyler is an award winning comics artist. Born and raised in Chicago, Illinois, 1951, she became interested in the underground comics movement while pursuing an MFA in painting at Syracuse University. This interest took her to San Francisco, where she met and later had a child with comix pioneer Justin Green. Her comics were first published in comix legend R. Crumb’s Weirdo in 1986. Tyler's short slice-of-life stories and her distinctive artwork brought her critical attention as one of a growing number of artists shaping the direction of underground/alternative comics in North America; she appeared in the influential anthologies like Wimmen's Comix, Twisted Sisters, Drawn and Quarterly, LA Weekly and Pulse!. Her first solo book, The Job Thing, was published in 1993. Previously known mostly for black-and-white drawings, the change in technology in the 1990s allowed for her to incorporate color into her comics. Her second solo work Late Bloomer, with an introduction by Crumb, was published by Fantagraphics in 2005. It was a collection of both previously published and new material. In his foreword, Crumb said, "She's tops in my book. One of the best artists alive and working in the comics medium. Her work has the extremely rare quality of authentic HEART. Hers are the only comics that ever brought me to the verge of tears.” Ms. Tyler's most recent completed project is the critically acclaimed 350 page graphic novel trilogy entitled You'll Never Know, which is about her search for the truth about her Dad’s PTSD from World War II. She is a Residency Artist with the Ohio Arts Council. Currently, she produces the inside back page for Cincinnati Magazine with a strip titled Tomatoes.
Tina Tammaro is a figurative oil painter focusing on narratives exploring social justice and contemporary family/relationship issues. She has recently shown in major exhibitions at Antioch College, the Women's YWCA, the CCAC, the Fitton Center and the Weston Art Gallery, a one person show at Shawnee State University in Portsmouth, Ohio, the social justice SOS annual exhibitions as well as at the Blue 5 Art Space in West Hollywood, California and the Bleicher/Golightly Gallery in Santa Monica, California. For over 25 years she has often been asked to speak on art history and contemporary art at such institutions as the Cincinnati Art Club, the Krohn Conservatory's Hothouse Horticulture Series, the Whitney Museum of American Art, the Metropolitan Museum of Art, the Hispanic Society of America, the National Gallery of Art, the Museum of Modern Art, the Brandywine Museum in Pennsylvania and the 92nd Street Y in NYC. During the 1980s Tammaro was a Staff Lecturer at the Whitney Museum of American Art where she spoke on the Permanent Collection, the Biennial Exhibitions and retrospectives such as Elizabeth Murray, Eric Fischl, David Salle, Willem de Kooning, Charles Sheeler, Cindy Sherman, Julian Schnabel and Red Grooms. She has been published in a number of prestigious international and national art periodicals, including American Artist, The Artist's Magazine and The Fine Art Connoisseur. She has been an adjunct professor at The New School (NYC), The University of Cincinnati, The Cincinnati Art Academy and Northern Kentucky University. For more than twenty years Tammaro has been teaching privately in her Cincinnati and Covington studios and is currently an Adjunct Instructor at the University of Cincinnati. For more information:
Dr. Vittoria S. Daiello, Associate Professor, teaches arts-based writing, research, and pedagogical methods in the College of Design, Architecture, Art, and Planning (DAAP) at the University of Cincinnati. Vittoria holds M.A. and Ph.D. degrees from The Ohio State University (2005/2010) and a B.F.A. from Ohio Wesleyan University (1999). Vittoria’s teaching experiences include K-12 art classroom contexts, multidisciplinary artist-in-residence projects in public schools, and writing across the curriculum program outreach. Informed by psychoanalytic theory and composition studies, Vittoria’s research of writing occurring within arts and design studio practices investigates the educational potential of expression impasses—those sites/sights of perception that resist capture within discrete disciplinary frameworks. A recipient of the Marantz Distinguished Alumni Award (OSU, 2016), Daiello’s research is represented in the proceedings of the American Educational Research Association (AERA), the International Congress of Qualitative Inquiry (ICQI), the National Art Education Association (NAEA), Conference on College Composition and Communication (CCCC), Foundations in Art: Theory and Education (FATE), and the 1st Conference on Arts-Based and Artistic Research. Peer-reviewed publications include Visual Arts Research Journal, The Journal of Social Theory in Art Education, Studies in Art Education, Creative Approaches to Research Journal, and The Handbook of Arts-Based Research (P. Leavy, Ed.).
Mikiko Hirayama teaches courses on Japanese and Chinese art. Her research focuses on Japanese art criticism of the early twentieth century. Her most recent publication is “‘Fictionalized Truth’: Realism as the Vehicle for War Painting” in Art and War in Japan and Its Empire, 1931-1960 (2012). She is a co-editor of Reflecting Truth: Japanese Photography in the Nineteenth Century (2005). Her other publications include "The Emperor's New Clothes: Japanese Visuality and Imperial Portrait Photography" in History of Photography (May 2009), “From Art without Borders to Art for the Nation: Japanist (Nihonshugi) Painting by Dokuritsu Bijutsu Kyōkai during the 1930s” in Monumenta Nipponica (2010), and "Notes on Japanese Art Criticism: The First Fifty Years," in Since Meiji: Perspectives on the Japanese Visual Arts, 1868-2000 (2011), and “Ishii Hakutei and the Future of Japanese Painting" in Art Journal (Fall 1996). She has delivered papers at various international, national, and regional venues such as the College Art Association conference, Association for Asian Studies conference, Midwest Art History Society conference, and Asian Studies Conference Japan. Hirayama's service to the field has included serving as an anonymous reviewer for Art Bulletin, Ars Orientalis, and Trans Asia Photography Review.
Dr. Kristopher Justin Holland received his BA from The State University of New York at Geneseo in Studio Art majoring in Drawing & Printmaking with a minor in Philosophy & Modern European Studies. Kris then studied art theory and drama abroad at the Universität Potsdam in Germany. Upon returning to the States he received his MA in Art Education from New York University and was a public school teacher of Media Communications and Fine Arts at Maxwell Vocational High School in East New York, Brooklyn. He then served as the Communications Coordinator for the Office of Overseas Study at Indiana University before joining the Cultural Immersion Project that prepares student teachers to complete their student teaching abroad in the School of Education at IU. Following this experience, he became an Associate Instructor at Indiana University teaching courses in art education in the Department of Curriculum and Instruction and foundations of Western Philosophy in the Department of Educational Leadership and Policy Studies. He received his Ph.D. in Philosophy of Education and Art Education from Indiana University in August of 2011.
Dr. Theresa Leininger-Miller (Ph.D., Yale University, 1995; B.A., Xavier University, 1986) teaches courses on late 18th-21st-century American and European art, including several Honors seminars. Publications include New Negro Artists in Paris: African American Painters and Sculptors in the City of Light, 1922-1934 (Rutgers, 2001); essays in Women Artists of the Harlem Renaissance; Out of Context: American Artists Abroad; The Modern Woman Revisited: Paris Between the Wars; and Source: Notes in the History of Art; catalogue essays in Deborah Grant: Christ You Know It Ain’t Easy (The Drawing Center); Harlem Renaissance; Black Paris: Kunst und Geschichte einer Schwarzen Diaspora; Paris Connections: African American Artists in Paris; and in Picture Cincinnati in Song; multiple reference guides entries; and book/exhibition reviews in 19th-Century Art Worldwide, Art Journal, Ohio Valley History, Indiana Magazine of History, CAA.Reviews, Journal of American History, and International Review of African American Art.
Leininger-Miller has lectured throughout the U.S. and in Paris, France and Bayreuth, Germany, and has appeared on radio, television, and in documentaries on PBS and in France. She has curated multiple exhibitions at the Public Library of Cincinnati and Hamilton County, Yale University Art Gallery, Weston Art Gallery, and UC’s Langsam Library. National awards include National Endowment for the Humanities Fellowship; Fellowship in American Modernism, the Georgia O’Keeffe Museum Research Center; Society for the Preservation of American Modernists; Anyone Can Fly Foundation Publication Grant; Kress; Henry R. Luce; and Pre-Doctoral Fellow, Smithsonian Institution (twice), and NEH Summer Institute. At UC, Leininger-Miller won the Marian Spencer Diversity Ambassador Award, the Outstanding Academic Advising Award, the President's Quality Service Award, and the Dean’s Award for Outstanding Research and Professional Work. Leininger-Miller was Chair of the Association of Historians of American Art and a juror for Library of Congress Kluge Fellowships (twice) and NEH Fellowships. Leininger-Miller is currently working on manuscripts on sculptor Augusta Savage and daguerreotypist/photographer J.P. Ball.
Dr. Kimberly Paice, Associate Professor; B.A., Cornell University, 1986; M.A., Brooklyn College, 1991; Ph.D., The Graduate School and University Center of the City University of New York, New York, 2003; Modern and Contemporary art; Historiography and research methodology; Photography; Feminist and Visual Studies. Dr. Paice's current scholarly project is a book-manuscript on Richard Serra’s films, videos, and early sculpture. In 2013, 2009, and 2005, she received Faculty Development Grants; in 2010 and 2005, she received University Research Council grants. In 2009, she received a Mondriaan Foundation Fellowship for a book on the post/studio era. Paice has published scholarly essays in Reconstruction, Drain: Journal of Contemporary Art and Culture, and n.paradoxa: International Feminst Art Journal, and The Journal of Journals (Documenta). Her writing has appeared in such magazines as Art on Paper, World Art, and frieze, and in the online publication of infointeractivist and semiotext(e). She has written exhibition catalogues essays on Sue de Beer, Stuart Fink, Philippe Snick, François Boucher, Jeff Koons, and the 2013 Romanian Pavilion of the Venice Biennale. As project coordinator/ archivist at the Solomon R. Guggenheim for the exhibition Robert Morris: The Mind/Body Problem, she wrote the “catalogue;" and the show traveled to the Centre Georges Pompidou (1994) and the Deichtorhallen Hamburg (1995). Paice has lectured at numerous venues, including the National Gallery of Art, Washington D.C., the Jan Van Eyck Academie (The Netherlands), Goldsmith’s College (Great Britain), University of Leuven (Belgium), and University of California, Los Angeles. In 2005, Dr. Paice won DAAP College’s Outstanding Teaching Award.
Maria Seda-Reeder is an independent curator, freelance writer, and arts educator who has worked with and on behalf of artists for nearly 15 years. She holds a MA in Art History and Certificate in Museum Studies from the University of Cincinnati, is an adjunct instructor at DAAP and the Art Academy of Cincinnati, a founding member of Near*By Curatorial Collective and has been writing critically about art via various print and online publications since 2009. Seda-Reeder actively pursues a multi-faceted career that allows her to dissect, write about, and seek out critical perspectives on our role as consumers and co-creators of visual culture.
Dr. Morgan Thomas teaches courses in modern and contemporary international art as well as courses in museum studies. Her research interests include: modernist painting and criticism; visual technologies and interconnections between painting and cinema; aesthetics and art criticism; exhibition studies; and cinema and media studies. She has taught in universities in Australia and New Zealand as well as working in France as a researcher on aspects of nineteenth-century French painting for a project funded by the Australian Research Council. She has also worked as an editor, critic and reviewer. With Julian Pefanis, she edited and co-translated a collection of writings by philosopher Jean-François Lyotard, entitled The Postmodern Explained (University of Minnesota Press). Her recent publications include ‘Slow Dance: Douglas Gordon’s 24 Hour Psycho’ (Reading Room: A Journal of Art and Culture, 2008), “Rothko and the Cinematic Imagination” (for the catalogue for Rothko, Tate Modern, 2008), “Complicities: Abu Ghraib, Contemporary Art, and the Currency of Images” (in Crossing Cultures: Conflict, Migration, Convergence, Miegunyah/University of Melbourne Publishing, 2009), and ‘Ethics of Appropriation’ (co-authored, in How Aborigines Invented the Idea of Contemporary Art, Power Publications, 2011).
Erin Hackmann graduated with her B.A. in Art History in 2008, and earned an M.A. in Art History from the University of Cincinnati in 2011 with a major in 19th-century art and a minor in Japanese art. Her master’s thesis, “Variations on a Theme: Berthe Morisot’s Reinterpretation of the ‘Woman at the Piano’ Motif in Her Images of Girls at the Piano, 1888–1892,” combines her research interests of 19th-century painting, women in art, and music. She is also a practicing photographer and with a love for the history of photography. She has taught the Art History survey courses in the College of Design, Architecture, Art, and Planning since 2011, and has worked with ETS as an AP Art History Reader since 2015.
Professor Lauren Cordes Tate received her MA and PhD in Art History from Indiana University and a BA in Art History from the University of Cincinnati. Her dissertation, "Pioneering Identity on the Frontier: Slaves, Soldiers, and Settlers in the American West," examines the representation of African Americans in the nineteenth-century North American West. Tate has presented portions of her research at the annual conferences of the College Art Association, the Midwest Art History Society, and the National Council for Black Studies. Dr. Tate has taught numerous courses on the history of art covering topics such as American Art, Race and Identity in American Culture, Modern Art, 19th Century Art, Art Appreciation, and the History of Art Survey: Prehistoric to Contemporary Art. She also teaches a class titled Design, Art and the Built Environment, which offers an examination of the disciplines practiced in the College of DAAP. Tate recently led a study abroad experience in Paris with the class “Art and Architecture History in the “City of Light.”