Tarek Al-Ghoussein is an artist and Professor of Visual Art. A primary focus of Al-Ghousseins's studio teaching is developing a strong formal awareness among students and facilitating the ability to manifest ideas in visual form.
As a Kuwaiti of Palestinian origin, much of Al-Ghoussein's professional work deals with how his identity is shaped in a context of inaccessibility and loss.
His work explores the boundaries between landscape photography, self-portraiture and performance art. Choosing locations much in the same way a film director does, he moves between abstraction and the specific circumstances found in particular places. Relying on subtle interventions and non-invasive interactions, the images consider various aspects of "identity".
Al-Ghoussein has exhibited extensively in Europe, the United States and The Middle East and has participated in numerous solo and group exhibitions in prominent venues such as the 53rd and 55th Venice Biennales; the Singapore Biennale; the 6th and 7th Sharjah Biennales; Gyeonggi Museum of Modern Art, Korea; and Kunstmuseum Bochum, Germany and Aperture Gallery, NYC, USA.
Al-Ghoussein's work has been acquired by the Solomon R. Guggenheim Museum in New York; the British and the Victoria & Albert Museum in London; the Sharjah Art Foundations; the Mori Art Museum in Tokyo; the Royal Photography Museum in Copenhagen; and the Arab Museum of Modert Art in Doha, among several others.
B.A. Obafemi Awolowo University (Ile-Ife); M.A. Ahmadu Bello University (Zaria); Ph.D. Bristol University
Awam Amkpa is the author of Theatre and Postcolonial Desires (Routledge, 2003). He is director of film documentaries and curator of photographic exhibitions and film festivals. Amkpa has written several articles on representations in Africa and its diasporas, representations, and modernisms in theatre, postcolonial theatre, and Black Atlantic films.
Areas of Research/Interest
Czech and Eastern European music; Musical Form and Meaning; Film Music; Music of the Roma (Gypsies); Music and War; Music in the Concentration Camps; Jewish Music; Music and Disability
Leonard Bernstein Scholar in Residence, New York Philharmonic, 2016-17; International Board of Governors, Jerusalem Academy of Music and Dance, 2013-; Board of Directors, Czech Center, NY 2010-15; Vice-President, DAHA (Dvorák American Heritage Association) 2009-; Vice-President, American Musicological Society, 2010-12; Chairman, Jury for the International Melodrama Competition, Prague, 2006; Director of Research, OREL Foundation 2006-2008; Research Adviser, 2009- ; Board Member, Stanford Humanities Center; Board Member, IREX
Honorary Doctorate, Palacký University, Czech Republic, 2014. Golden Dozen Teaching Award, NYU 2013. George Estabrook Distinguished Alumnus Award, Hofstra University 2012. ASCAP-Deems Taylor Award, 2006. Order of Merit, Czech Parliament, 2004. ASCAP-Deems Taylor Award, 2004. Honorary Board if the Janácek Foundation, 2003. Special Citation from the Czech Parliament, 2003. Laureate of the Czech Music Council, 2000. Medal of the Dvorák Society, 1991. Medal of the Martinu Society, 1990. Janácek Medal of the Czech Ministry of Culture, 1988.
Books: Martinů's Mysterious Accident, ed., 2007 Pendragon Press. Janáček and His World, ed. Princeton University Press, 2003. New Worlds of Dvořák. W.W. Norton. 2003. Janáček and Czech Music, ed. Michael Beckerman andGlen Bauer, Pendragon Press, 1995. Janáček the Theorist. Pendragon Press, 1994. Dvořák and His World, ed. Princeton University Press, 1993.
Jonathan Berger is an artist whose work centers around the practice of exhibition making, encompassing a spectrum of activity including sculpture, installation, performance, archival work, design, relational practices, education, and the production of large-scale collaborative projects. The content of his exhibitions range from work that he physically produces or asks others to produce for him, to materials that he collects, seeks out, and re-contextualizes, or that are the product of conversations and exchanges with others. His projects often combine new and old, traditional and nontraditional, popular and obscure, static display and events, that which is widely acknowledged as art and that which is not. Berger's relationship to these exhibitions exists in a gray area that both incorporates and rejects the standard conventions attached to the role of artist, curator, producer, journalist, director, archivist, biographer, historian, and documentarian. For the past ten years, Berger’s practice has been concerned with a rigorous investigation of the many ways in which the exhibition site can be repurposed, allowing for an expansion and reconsideration of our understanding of what art can be and how it can be made.
Recent projects include Ellen Cantor: Are You Ready For Love?; The Magic Flute, in collaboration with Vaginal Davis, Susanne Sachsse, Xiu Xiu, Jesse Bransford, Jackie Shemesh, and Michel Auder; James Son Ford Thomas: The Devil and His Blues, in collaboration with Jessica Garcia and Marybeth Brown; New Sights, New Noise, in collaboration with Michael Stipe; Devotion: Excavating Bob Mizer, in collaboration with Billy Miller; and Learn to Read Art: A Surviving History of Printed Matter, in collaboration with Max Schumann, all of which were presented at 80 WSE Gallery, New York, where Berger recently completed a three-year term as Director. In 2013, he presented On Creating Reality, by Andy Kaufman at Maccarone, New York, in addition to organizing Andy Kaufman's 99cent Tour, the first comprehensive screening series surveying Kaufman's performance work, presented at Participant Inc., New York. In 2009, Berger organized the exhibition Stuart Sherman: Nothing Up My Sleeve at Participant, Inc., which was included in the 2009 PERFORMA Biennial. Berger has presented solo installation projects at the Busan Biennial, South Korea; Frieze Projects, London; Vox Populi, Philadelphia; Adams and Ollman Gallery, Portland, Oregon, Andreas Grimm Gallery and Karma Gallery, New York. His collaborative projects have been presented at numerous venues including MOCA Los Angeles; The Hebbel Theater, Berlin; The Queens Museum of Art and Performance Space 122, New York; and Fleisher/Ollman Gallery, Philadelphia.
Berger is a recipient of a Pollock-Krasner Foundation and Haven Foundation Grant, in addition to having been awarded residencies at Yaddo and the MacDowell Colony, among others. Jonathan Berger received his BFA from California Institute of the Arts in 2002 and his MFA from New York University in 2006, where he is presently a Clinical Assistant Professor in the Department of Art and Art Professions.
Iraqi-born artist Wafaa Bilal is renowned for provoking dialogue about international politics and internal dynamics through high profile, technologically-driven art projects that employ the use of robotics, the internet, and photographic mobile mapping. For his 2007 installation, Domestic Tension, Bilal spent a month in a Chicago gallery with a paintball gun that people could shoot at him over the internet. Using his own body as a medium, Bilal continues to challenge our comfort zone with projects like 3rdi and and Counting.... In 2008, City Lights published “Shoot an Iraqi: Art, Life and Resistance Under the Gun,” about Bilal’s life and the Domestic Tension project. His work can be found in the permanent collections of the Los Angeles County Museum of Art, Los Angeles, CA; Museum of Contemporary Photography, Chicago, IL; MATHAF: Arab Museum of Modern Art, Doha, Qatar; amongst others. He is currently an Associate Arts Professor at NYU's Tisch School of the Arts.
My research and publications focus on French and Italian court spectacles, theatre, and ceremonies of the sixteenth and seventeenth centuries. My first two books about stage adaptations of the myth of Perseus and Andromeda investigate the ways in which playwrights and librettists negotiated between poetics and the necessities of the stage, between encomium and commercial strategies. This perception of theatre as a complex cultural phenomenon continues to animate my work and raises important questions regarding the creation of festivals, theatre, and opera of the Ancien Regime. It also permits me to open up questions about the status of the documents on which theatre and festival historians base their research. This last topic was the object of a special issue of Texte, a journal of literary theory and criticism, devoted to the subject of “Texte et représentation: les arts du spectacle (XVIe-XVIIIe siècles),” which I edited. My latest book, La Fête imprimée. Cérémonies et spectacles politiques (1549-1662) (Classiques Garnier, 2016), is the first comprehensive examination of French festival books focusing on their specific charge: to give shape, order and meaning to spectacles and ceremonies. Exploring issues related to print culture and the history of reading practices, it shows how they are in fact the result of an assemblage of various textual and iconographical sources, which transform the reader into an ideal spectator.
Jesse Bransford is a Brooklyn-based artist whose work is exhibited internationally at venues including The Carnegie Museum of Art, the UCLA Hammer Museum, PS 1 Contemporary Art Center and the CCA Wattis Museum among others. He holds degrees from the New School for Social Research (BA), Parsons School of Design (BFA) and Columbia University (MFA). An associate professor of art at New York University and the chair of the Department of Art and Art Professions, Bransford's work has been involved with belief and the visual systems it creates since the 1990s. Early research into color meaning and cultural syncretism led to the occult traditions in general and the work of John Dee and Henry Cornelius Agrippa specifically. He has lectured widely on his work and the topics surrounding his work and is the co-organizer of the biennial Occult Humanities Conference in New York. Work can be seen cataloged at http://jessebransford.com/
Since she was a teenage walking installation piece, Vaginal Davis has been known as a performing and visual arts treasure. Her medium is the indefinate nature of her own unmitigated whimsy. Davis has been at the forefront of a new breed of art maverick who takes the old Warhol adage of "everyone will be famous for fifteen minutes" one step further, by creating new movements every fifteen minutes. Vaginal Davis is the 2009 recipient of the Ethyl Eichelberger / Gesso Foundation Art Prize. As a literary figurine her short story "The Everlasting Secret First Family of Fuck: An Expose" published by Simon&Schuster won the 2003 Award for Best American Erotica. Vaginal Davis, the intermedia, intersexed, doyeanne of Queer Arts & Sciences. Her beat is galactic!
Laurence Dreyfus completed his PhD studies in musicology under Christoph Wolff at Columbia University and is the author of three books: Bach’s Continuo Group (1987), Bach and the Patterns of Invention (1996), and Wagner and the Erotic Impulse (2010), all published by Harvard University Press. He was elected a Fellow of the British Academy in 2002. As a performer he leads the viol consort Phantasm (www.phantasm.org.uk) which tours internationally and has won numerous awards for its recordings of English consort music. Dreyfus has taught at Yale, Stanford, the Royal Academy of Music, King’s College London, and most recently at the University of Oxford, where he became Professor Emeritus in 2015 and relocated to Berlin so as to devote more time to performance and research.
Photo: Marco Borggreve.
Barbara Edelstein is a Clinical Assistant Arts Professor at NYU Shanghai. She is an internationally known artist with exhibits worldwide, including recent shows in China, the United States, and Europe. She holds an MFA from Claremont Graduate University and a BA from the University of California, Santa Cruz.
Edelstein has several large-scale permanent public artworks in the United States, Europe, and China, including sculptures for the Shanghai Jing’An International Sculpture Park, Guangdong Museum of Art, and the Hangzhou Municipal Government. Her catalogs include “Flowing Leaf Floating Water,” “Stories,” and many other museum and gallery publications. Her work has appeared in ARTnews, Art in America, Art Contemporary China, the New York Times, and the Los Angeles Times as well as many other international art publications.
Edelstein has received a Rockefeller Foundation Bellagio Residency, two Pollock-Krasner Foundation Grants, and MacDowell Colony and Djerassi Residencies. Having a Western perspective on art, yet currently working in China, has given her a unique viewpoint to combine both the cultures of the East and West into her art, and develop her multimedia artworks.
Gabriella Etmektsoglou is the Director of NYU Berlin since 2010. She holds a PhD in European history from Emory University. The principal concerns of her research and writing are the Holocaust in Greece, narratives of self-victimization in present-day Germany, and questions of reparations and transitional justice in the context of postwar Europe. Etmektsoglou is the author of Axis Exploitation of Wartime Greece, 1941–1943. She has recently co-edited the memoirs of a Holocaust Survivor, Lisa Pinhas, that appeared in three languages. Before joining NYU, she taught subjects in Modern European History, Balkan History, and Civil Wars in universities in the U.S., Europe, and Australia. She is a founding member of the US National Peace Academy and committed to reshaping higher education, especially global education, so that it becomes a central driver in creating a more humane and sustainable world. She co-teaches a course on German History at NYU Berlin and continues to participate in conflict resolution projects in Greece and Cyprus.
intercultural communication and cultures of peace-building; civil wars and ethnic conflicts in 20th century Europe; World War II; the Holocaust and its legacy; post-1945 Europe; transitional justice, especially in post-1945 Europe and post-1989 Eastern Europe; the Balkans in European affairs (1908-1995)
Mitchell Joachim, Ph.D. is the Co-Founder of Terreform ONE and an Associate Professor of Practice at NYU Gallatin/ Tisch. Formerly, he was an architect at the offices of Frank Gehry and I.M. Pei. He as been awarded a Fulbright grant and fellowships with TED, Moshe Safdie, and Martin Society for Sustainability. He was chosen by Wired magazine for "The Smart List” and selected by Rolling Stone for “The 100 People Who Are Changing America”. Mitchell won many honors including; AIA New York Urban Design Merit Award, 1st Place International Architecture Award, Victor Papanek Social Design Award, Zumtobel Group Award for Sustainability, History Channel Infiniti Award for City of the Future, and Time magazine’s Best Invention with MIT Smart Cities Car. He's featured as “The NOW 99” in Dwell magazine and “50 Under 50 Innovators of the 21st Century" by Images Publishers. He co-authored the books, “Super Cells: Building with Biology” and “Global Design: Elsewhere Envisioned”. His design work has been exhibited at MoMA and the Venice Biennale. He earned: PhD at Massachusetts Institute of Technology, MAUD Harvard University, MArch Columbia University.
Pepe Karmel is Associate Professor in the Department of Art History, New York University. He received his B.A. from Harvard College and his M.A. and Ph.D. from the Institute of Fine Arts, NYU. Prior to arriving at NYU in 1999, Karmel was an art critic for The New York Times and an Adjunct Assistant Curator at The Museum of Modern Art; he also taught at Hunter College and the School of Visual Arts.
Karmel curated Robert Morris: The Felt Works for the Grey Art Gallery in 1989, and assisted in the organization of Picasso and Braque: Pioneering Cubism, which appeared at The Museum of Modern Art in the same year. In 1997-98, he was co-curator, with Kirk Varnedoe, of Picasso: Masterworks from The Museum of Modern Art, which was seen at the High Museum of Art in Atlanta, the National Gallery of Canada in Ottawa, and the Los Angeles County Museum. Also with Kirk Varnedoe, he co-curated Jackson Pollock, a major retrospective that appeared at The Museum of Modern Art in 1998 and (in different form) at Tate Modern, London, in 1999. The jointly authored catalogue for Jackson Pollock received the College Art Association’s Alfred H. Barr, Jr. Award, the New York State Historical Association’s Henry Allen Moe Award, and the International Association of Art Critics’ award for Best Exhibition Catalogue.
Since arriving at NYU, Karmel has curated a series of exhibitions on modern and contemporary art. In 2004, for the Fundacíon Marcelino Botin in Santander, Spain, he organized The Age of Picasso: Donations to American Museums, which traveled to the Fondazione Memmo in Rome. In 2008, he curated New York Cool: Painting and Sculpture from the NYU Art Collection, which received the International Association of Art Critics’ award for Second Place, Best Show in University Gallery. In 2012, together with Joachim Pissarro, he organized Conceptual Abstraction at the Hunter College Times Square Gallery.
Karmel’s book, Picasso and the Invention of Cubism, published by Yale University Press in 2003, was reviewed in Apollo, the Times Literary Supplement, the Art Bulletin, the London Review of Books, Artnews, and other journals. It has become a foundational resource for a new generation of Cubism scholars. He has contributed essays on Cubism and on Picasso to the catalogues of exhibitions at the Metropolitan Museum of Art, the National Gallery of Art (Washington, DC), the Tate Gallery (London), the Musée Picasso (Paris), the Los Angeles County Museum of Art, the Museum Folkwang (Essen), and other museums. He has written about Abstract Expressionism and Minimalism for the Metropolitan Museum of Art, the Peggy Guggenheim Collection (Venice), and the Stedelijk Museum (Amsterdam); and about contemporary art for the Los Angeles County Museum, and for varied journals.
He is currently working on The Abstract Image: Body, Landscape, Architecture, to be published by Thames & Hudson in 2019.
Nina Katchadourian is a visual artist who works in a range of media, including photography, installation, video, sound-based work and public projects. She has been included in group shows at MoMA/PS1, the Istanbul Museum of Modern Art, and the Palais de Tokyo, and has had solo exhibitions at such institutions as the Museum of Contemporary Art San Diego, the Turku Art Museum and the ArtPace Foundation for Contemporary Art. Her 10-year retrospective exhibition All Forms of Attraction at The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College was nominated for best monographic exhibition by the Association of International Art Critics. She has collaborated with Creative Time, SculptureCenter, the Public Art Fund, and Wave Hill to present several public projects in New York. Her work was included in the 2015 Venice Biennale’s “Armenity” exhibition, which won a Golden Lion Award for the Best National Pavilion. She is represented by Catharine Clark gallery in San Francisco.
Jason King is a Canadian musician, DJ, performer, producer, arranger and songwriter, scholar, curator and journalist. Jason holds a Ph.D from New York University, where he is Associate Professor and the founding faculty member of The Clive Davis Institute of Recorded Music. He worked alongside legendary music impresario Clive Davis to help build and develop the program and he served as the program's first Interim Chair, first Associate Chair and for six years as its first (and only) Artistic Director. He has been teaching classes on popular music history, the music business (marketing/branding) and the social aspects of music technology for more than sixteen years at New York University. Among the courses he teaches: “Music + Robots,” "A&R/Artist Development," “Conversations with Technology Entrepreneurs;” “Immersive Experiences,” "Branding," "The Record Producer as Creative Artist," "Music Recommendation and Discovery," "Freddie Mercury," "R&B" and "Hip Hop History Music and Culture.” He has been the Institute’s Director of Writing, History & Emergent Media Studies since the program’s inception in 2003 and as the founding instructor of the Capstone project, he continues to oversee graduating students’ business and creative projects. As the Institute’s Director of Global Studies, Jason has recently developed the forward-thinking international study abroad program Clive Davis Institute x Berlin: Future Pop Music Studies in Germany, which launched September 2016, and a forthcoming program in Havana, which launches January 2017.
In his Artistic Director role as the Institute’s industry face and liaison, Jason brought numerous guests to the school, from Pharrell Williams to De La Soul to Gamble & Huff to Phil Ramone to Alicia Keys to Russell Simmons to Swizz Beats. Among the events he has produced or co-produced for NYU or outside of NYU: the 2014 Club Classics Live! concert extravaganza at Central Park Summerstage featuring Sam Sparro and Ultra Naté; the EMP Pop Conference in April 2013 featuring Amanda Palmer; the EMP Pop Conference in March 2012 with Esperanza Spalding, ?uestlove of The Roots, Angelique Kidjo and Santigold; a two-day "The Making of Public Enemy's It Takes a Nation of Millions" with Chuck D and Hank Shocklee; "Sylvester: The Life and Work of a Musical Icon" (produced with Carolyn Dinshaw) with Martha Wash and Kevin Aviance; "The Making of Afrika Bambaataa and SoulSonic Force's Planet Rock" with Arthur Baker and Fab 5 Freddy for a two-week hip-hop festival at NYU; and Motown's 50 anniversary series with guests like Leon Ware and Raphael Saadiq. He has also served as music supervisor and orchestrator for concerts associated with those events. Under his guidance and direction, Jason has recruited a stellar faculty for NYU’s program's music history, criticism & journalism component; he's overseen the development of innovative academic courses like "The Island Records Story" (taught by Vivien Goldman); "Stevie Wonder," "Classic Albums" and “Prince” (taught by ?uestlove and Harry Weinger); "Paul Simon's Graceland" (Ashley Kahn); "Apple" (Eliot Van Buskirk); and "Def Jam" (Bill Adler), to name a few.
Outside of his role at the university, Jason is a contributing member of the NPR Music Team. He is the host and co-producer of NPR’s flagship video documentary series Noteworthy, on the creative process of music superstars: season one featured interviews with Alicia Keys, Maxwell, Miguel, Banks, Dua Lipa and Anthony Hamilton. He is also the curator and host of NPR’s 24/7 streaming radio channel dedicated to soul and R&B music called NPRandB, and has worked on R&B video programs with Babyface, King, Jazmine Sullivan, Ledisi, Sevyn Streeter and more. He has served as a guest curator for Vevo, and has consulted with Spotify and numerous other technology start-ups. As Creative Director of his own entertainment company Superlatude, Jason has consulted for record labels, branding and marketing firms; he has served as a music marketing and branding expert in high-profile copyright infringement cases for artists like Jay-Z, Timbaland, Madonna, Lady Gaga, 50 Cent, Dr. Dre and Kanye West. He has also been manager/strategist for international major label and indie artists (Jimmy Edgar, The Craig Lewis Band), and he has been music supervisor, live event and concert producer and musical arranger for cult pop star Asha Puthli.
He is the founder / driving force behind innovative New York based dance music superband Company Freak (www.companyfreak), featuring original lead singers of Chic Norma Jean Wright and Alfa Anderson and Hubert Eaves of D-Train. The band’s first EP, Le Disco Social, was distributed by Los Angeles based record company Opus Label and voted one of the top 20 pop albums of the year by Rhapsody Music. His music has been remixed by DJ Spen, Justin Faust, Eric Kupper, Jodie Harsh, Opolopo and many others. Other recent studio productions: “Hold On (He’ll Be Right There)” for soul music icon Sarah Dash of Labelle; executive producer of electro-soul artist Selan’s 2012 Space Flight album, featuring special guests Nile Rodgers, Emily King and M1 from Dead Prez.
Jason has been a longtime music critic and journalist for magazines like Vibe (2001-2008), The Village Voice (2003-2006), Blender, The Los Angeles Times, Spin, Slate, NPR, Buzzfeed, Quartz, The Root, NPR, Vice, and Pitchfork. Jason has also excelled as a playwright and director in theater (Crossroads Theater Company, New Perspectives, etc.). His pioneering approach to teaching hip-hop and pop music in the classroom has been profiled on MTV, BET, NPR, and AOL; and he has been invited to give lectures on popular music and culture at universities like Harvard, Princeton, Stanford, Yale, Columbia, The Juilliard School and MIT. Recent interviews have included a two hour career retrospective with Pharrell Williams, plus Dev Hynes for Pitchfork, Nick Jonas for Social Media Week NY, Mary J. Blige, Pharrell, and George Clinton for NPR Music, and Harry Belafonte for Apple's Meet the Musician Series.
Jason is the author of The Michael Jackson Treasures, a 2009 Barnes and Noble exclusive biography on the King of Pop, which has been translated in more than 7 languages, and a book called Blue Magic, on the role of metaphysics and energy in the music of artists like Timbaland, forthcoming from Duke University Press. He has published numerous essays on pop culture, and his blog entry "Michael Jackson: An Appreciation of His Talent" appears in the Da Capo Press Best Music Writing 2010 compilation, edited by Ann Powers. In 2010, he was invited to teach the inaugural class at the just-launched NYU Abu Dhabi campus in the United Arab Emirates; he returned to teach classes in global music production and technology as Affiliated Faculty in 2012, 2013 and 2014. Jason also taught a post-graduate course on Producing Transnational Media Ventures for the MFA program in International Media Producing at Tisch School of the Arts Asia in Singapore. Jason wrote the liner notes for a Luther Vandross compilation for Sony Music, and for the acclaimed vinyl exclusive reissue of D'Angelo's Voodoo for Light in the Attic/Sony. He appears as a talking head and cultural critic in many music documentaries, including Glamourpuss, the 2010 Lady Gaga documentary; and he is featured in two Spike Lee documentaries, Bad 25 and Michael Jackson’s Journey from Motown to Off the Wall. He is a talking head and he was the series consultant on a forthcoming star-studded eight-part PBS series on the history of popular music called Soundbreaking. Jason is currently delving into directing and producing documentaries and television, and he is at work on a revisionist biography of Freddie Mercury.
Juliet Koss is Associate Professor and Chair of the Department of Art History at Scripps College in Claremont, California. A specialist in modern European art, architecture, and related fields with particular emphasis on Germany and the Soviet Union, she is the author of Modernism after Wagner (University of Minnesota Press, 2010), shortlisted for the Charles Rufus Morey Book Prize from the College Art Association. Her current book project, Model Soviets, explores the status and function of models (architectural designs, art objects, and more abstract representations of future possibilities) in 1920s and 1930s Soviet culture. Her work has been supported by fellowships from the Getty Research Institute, the Canadian Centre for Architecture, the National Endowment for the Humanities, the Humboldt Foundation, the Clark Art Institute, and the Harriman Institute for Russian Studies at Columbia University. She was a Fellow of the American Academy in Berlin in 2009 and, in 2011, the Rudolf Arnheim Visiting Professor at the Humboldt University in Berlin.
My research interests focus primarily on late nineteenth- and early twentieth-century art in Spain and France. I am trained as a historian of modern art and teach a range of courses that extend my interests beyond my immediate areas of scholarly investigation. I have taught graduate courses on German Art Between the World Wars, Russian Constructivism, Central European Avant-Gardes, The Revival of Classicism in the 20th century, Critical Theory, Queer Theory, The Western Marxist Paradigm, Art-Historical Hermeneutics, and monographic courses on such artists as Giacometti, Picasso, Miró, and Dalí. As a social historian of art I am particularly interested in the intersection of art and social movements, with a strong focus on anarchism and modern nationalist formations. I look closely at painting, sculpture and architecture in relation to mass culture, print ephemera and photography. My theoretical interests focus largely on the construction of identity and I have been actively involved in Queer and Feminist studies.
I have contributed to numerous anthologies, exhibition catalogues, and books. Two of my monographic publications are the scholarly catalogue of the Salvador Dalí Museum in St. Petersburg, Florida (Little Brown, 2000) and a study of the Catalan artista Joan Ponç (Polígrafa, 1993). Most recently I co-edited the volume Transatlantic Avant-Gardes with Dr. María Dolores Jiménez Blanco (Center for Spain in America, 2013). In spring 2016 I will be editing another volume on Joan Miró and twentieth-century sculpture, based on the international symposium I am organizing for CaixaForum in Madrid on April 15 and 16. The volume will appear in autumn 2016.
For the past two years I have dedicated most of my time to my position as Director of NYU Madrid. Among recent initiatives I have engaged in a complete curricular review to bring our courses up to the proper academic level. I have retired a number of under-producing courses and added new subjects in an attempt to build synergies and pathways across disciplines and to rationalize our curricular offerings. I have also instituted an Oral Histories Project focusing on African immigrants to Madrid and I have established a number of diversity programs. I have also been working closely with my faculty to raise their academic profiles and to encourage advanced research. To this end I am currently organizing an international symposium on “Islam in Spain” for the Abu Dhabi Institute, scheduled for January 2017. The proceedings of the symposium will be published.
In addition to my administrative duties at NYU Madrid I am actively engaged in research as a Joan Miró scholar. In 2014 I was appointed a trustee of the Fundació Joan Miró in Barcelona. I also direct the Càtedra Joan Miró (Miró Research Chair) at the Universitat Oberta de Catalunya, for which I designed a 30 credit postgraduate diploma course on Miró Studies. Related to the Càtedra Miró and in conjunction with the Fundació Miró I also preside over the International Miró Research Group, which brings together scholars from the United States, France, England and Spain to study the work of the artist. Our first international initiative is the symposium “Miró and Twentieth Century Sculpture’ (April 2016), to be followed by an exhibition curated by Christopher Green of the Courtauld Institute on the Joan Miró/Paul Eluard collaboration, A Toute Epreuve (Fundació Joan Miró, Spring 2017). In 2018 I am organizing another international symposium on Miró’s dealers and collectors (either for New York or NYU Paris, with Getty Research Institute support), and in 2019 I am developing an exhibition for the Fundació on Miró and ADLAN (Amics de l’Art Nou). Finally, in 2020 I will be curating a large format exhibition on Miró’s series of Paintings on Masonite of 1936, with the collaboration of my doctoral student at the IFA, Rachel Boate. I will contribute papers and essays to each of these projects and will edit the accompanying books and/or exhibition catalogues.
Florencia Malbrán teaches at New York University in Buenos Aires, and is currently Craig M. Cogut Visiting Professor in Latin American and Caribbean Studies at Brown University. She holds a Ph.D. from Rosario National University, Argentina, and a M.A. from the Center for Curatorial Studies, Bard College, New York, where she was a Bruce T. Halle Family Foundation Fellow. Specializing in Latin American art history, contemporary art, curatorial studies, and critical theory, Malbrán has served on the faculties of NYU’s Gallatin School of Individualized Study in New York City and Universidad de San Andrés in Buenos Aires.
Also a curator, she has organized exhibitions in Argentina, the United States, Canada, Brazil, Colombia, and Paraguay. She has been in residence in France, Switzerland, and Spain, and was the Hilla Rebay International Fellow at the Guggenheim Museums in New York, Bilbao, and Venice. She has held curatorial positions at the Museum of Modern Art in Buenos Aires and the Pinacoteca do Estado in São Paulo.
Her shows have been reviewed in Clarín and La Nación in Argentina, O Globo in Brazil, El Tiempo in Colombia, and Artforum in the United States. Selected catalog writing includes essays on Guillermo Kuitca and on Pablo Siquier for Argentina’s La Nación book series on seminal national artists, on Ernesto Neto for the Astrup Fearnley Museum of Modern Art, and on Ragnar Kjartansson for the Icelandic Pavilion at the 53rd Venice Biennale.
Malbrán is completing a new book, stemming from her interest in postcolonial and globalization studies. Contemporary Folds: Latin American Art and Literature in the 21st Century examines artists and writers who push at the limits of form and genre, and even subvert the boundaries between the verbal and the visual. Fundamentally interdisciplinary, her book also positions these artworks in cultural and political contexts.
Mia M. Mochizuki is tenured Associate Professor of Renaissance and Baroque Art History at New York University Abu Dhabi and the NYU Institute of Fine Arts, New York. Born in Tokyo and educated at Sacred Heart schools and Groton School, she trained as a historian of seventeenth-century Dutch art at Vassar College (B.A.), Yale University (Ph.D.), and Leiden University.
Her scholarly interests have focused on four areas: (1) seventeenth-century Dutch art (ed., In His Milieu. Essays on Netherlandish Art in Memory of John Michael Montias, 2006); (2) iconoclasm (The Netherlandish Image after Iconoclasm, 1566-1672. Material Religion in the Dutch Golden Age, 2008, winner of the College Art Association Publication Award, the ACE/Mercers’ International Book Award for Religious Art and Architecture, and the Ashgate Editor’s Choice Award for a significant contribution to the field); (3) cross-cultural art (Dawn of a Global Age: Visual Dialogue between Edo Japan and the West, 1543-1868 [Japanese title: 対話する日本と西洋の文化――グローバル時代の夜明け], 2017; and ed., The Nomadic Object: The Challenge of World for Early Modern Religious Art, at press to appear in September 2017); and (4) Jesuit art (articles in English and Japanese: https://nyu.academia.edu/MMochizuki). Currently, she is preparing two monographs: one on the Jesuit Global Baroque (Brill, under contract) and a commissioned volume for the Brill Research Perspectives series on Jesuit art (Brill, anticipated 2019).
Tae Hong Park is a composer, music technologist, and bassist. His work focuses on composition of electro-acoustic and acoustic music, machine learning and computer-aided music analysis, and soundmapping. He is chief architect of Citygram, a project that has pioneered real-time citizen-science enabled soundmapping. Dr. Park has presented his music at national and international conferences, festivals, and venues including Bourges, Carnegie Hall, ICMC, MATA, and SEAMUS. Among the ensembles and performers that have played his work are the Brentano String Quartet, California E.A.R. Unit, Ensemble Surplus, and Nash Ensemble of London. Professor Park is author of Introduction to Digital Signal Processing: Computer Musically Speaking (World Scientific, 2010). He is the Chief Editor of Journal SEAMUS, serves as Editiorial Consultant for Computer Music Journal, served as President of the International Computer Music Association (ICMA), and is Director of NYU Steinhardt's Composition program. He received his Ph.D. from Princeton University.
Shelley Rice is an Arts Professor at New York University, with a joint appointment between the Photography and Imaging and the Art History Departments. She is the author of Parisian Views, the editor of Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman and the co-author of numerous books and catalogs like The Book of 101 Books, Jacques Henri Lartigue: D’air et d’Eau, Candida Hofer: In Portugal, Paris et le Daguerreotype and, most recently, Marc Ferrez: Rio (2015) and ORLAN (2017). Her essays have appeared in many publications, for instance Art in America, Artforum, The Art Newspaper, Bookforum, Aperture, The Village Voice, Tate Papers, French Studies and Etudes Photographiques, and she has been both the featured blogger and a talk show hostess for lemagazine.jeudepaume.org in Paris. Rice is the recipient of numerous awards, including a Guggenheim Fellowship, two Fulbright Grants (to France and Turkey), National Endowment for the Humanities and the Arts Awards, a Hasselblad Research Fellowship and the PEN/Jerard Award for Non-Fiction Essay. In 2010 she was named a Chevalier in the Order of Arts and Letters in France, and in 2015 she was awarded the David Payne Carter Award for Teaching Excellence from the Tisch School of the Arts at NYU.
Ph.D. 2008 and M.Phil. 2003, Princeton University; B.A. 1991, University of Sydney in Australia
Recent & Current/General & Specific: Topics in 1960s through Contemporary art. Score and language-based artistic strategies; performance (and performativity) from Fluxus through the present; the shift from medium to media in contemporary art.
Tutor - Whitney Independent Study Program (ISP), New York.
“Space/ Latitude/ Attitude: Dwan Gallery, Los Angeles, 1959–67” in collective volume tracing the history of the Virginia Dwan Gallery, 1959-1971, MIT Press (contributors: Michael Govan, Robert Hobbs, Liz Kotz, James Meyer, Philippe Vergne, Edward Vazquez) (forthcoming, 2017)
In the event of George Brecht, OCTOBER/MIT Press (forthcoming, 2017)
"Retracing the Expanded Field: Encounters between Art and Architecture", edited by Spyros Papapetros & Julian Rose: Cambridge: MIT Press: 2014: “Responses”, 191-193 (contributors: George Baker, Yve-Alain Bois, Benjamin Buchloh, Beatriz Colomina, Penelope Curtis, Hal Foster, Kenneth Frampton, Branden W. Joseph, Rosalind Kraus, Miwon Kwon, Josiah McElheny, Eve Meltzer, Mary Miss, Anthony Vilder, et al.)
“From Abstraction to Model: George Brecht’s Events and the Conceptual Turn in Art of the 60s [Part I]”, in "Cine Qua Non Magazine 8", Spring/Summer ’14: 46-77 (Portuguese & English)
Une Table Ronde, New York, April 27, 2013, in ”Art by Telephone - Recalled”, edited by Sébastien Pluot & Fabien Vallos: Montpellier, France: Editions Mix, La Panacée, cneai=, esba, Talm, Ebabx,: 2014: 91-153 (French). Participants: Hannah Higgins, Nicholas Knight, Sylvia Kolbowski, Eve Meltzer, Bruno O’Keefe, Julia Robinson & Sébastien Pluot.
"Prime Media" in ± I96I: Founding the Expanded Arts (Madrid: Museo Nacional Centro de Arte Reina Sofìa, 2013), Julia Robinson & Christian Xatrec, eds.
CAA book review: Branden W. Joseph, Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage, (New York: Zone Books, 2008/2012). http://www.caareviews.org/reviews/1899
"Maciunas producteur: Le ‘design’ performatif dans l'art des années 1960" in Initiales no.1- George Maciunas, ENSBA Lyon: Nov., 2012: 16-24.
"The Readymade's Virtual Field: Notes on Duchampian Shadow-boxing" in Mousse, Issue 36, Dec., 2012-Jan. 2013, Milan, 78-85.
"Multiple Manifestations: Nouveau Réalisme & Fluxus" in The Small Utopia/Ars Multiplicata, Germano Celant ed., (Venice: Fondazione Prada: 2012).
"Pollock's Concreteness: Painterly Performance or Performative Painting?" in exh. catalogue Explosion! Action-Painting-Action, (Stockholm: Moderna Museet, 2012). Curator: Magnus af Petersens.
"Claes Oldenburg: The Sixties" Preview, Artforum, Jan., 2012
"Fetish or Foil: The Caprices of Claes Oldenburg" in Claes Oldenburg, edited by Nadja Rottner, October Files 13, (Cambridge: MIT Press: 2012).
Edited John Cage, October Files 12 (Cambridge: MIT Press: 2012).
"To Draw Out a Story: Robert Whitman - Time Between Medium & Media" in Robert Whitman, exhibition catalogue, (Paris: Galerie 1900-2000: 2011).
"Before Attitudes Became Form,” in New Realisms: 1957-62: Object Strategies from Readymade to Spectacle, Julia Robinson, ed., (Madrid/Cambridge, Mass.: MNCARS/MIT Press: 2010).
Editor, contributor, and curator, The Anarchy of Silence: John Cage & Experimental Art (Museu d’Art Contemporani, Barcelona [MACBA], 2009); catalogue essay: "John Cage and Investiture: Unmanning the System."
"From Abstraction to Model: George Brecht's Events and the Conceptual Turn in the Art of the 1960s," October 127, Winter 2008/9.
"Maciunas as Producer: Performative Design in the Art of the 1960s," Grey Room, No. 33, Fall 2008.
"Oldenburg: Monumental Contingency," in Pop Art at Princeton (Princeton University Art Museum, March 2007).
"In the Event of George Brecht" in George Brecht Events: A Heterospective (Cologne: Verlag der Buchhandlung Walther König, 2005), Julia Robinson and Alfred Fischer eds. (and exhibition curators).
Nov. 17, 2014 Zero: Coutdown to Tomorrow, 1950s-60s, Deutsches Haus at NYU
Panel Discussion on the exhibition at the Guggenheim Museum (with Valerie Hillings, exh. curator, and Tiziana Caianiello, Zero Foundation, Düsseldorf).
Nov. 13, 2014 Sari Dienes, The Drawing Center, New York
Panel Discussion (moderator) in conjunction with the Sari Dienesexhibition curated by Alexis Lowry Murray, and Delia Solomons,
(Participants: Alison Knowles, Gillian Jagger, and the curators)
Oct. 25, 2014 Fred Herko: A Crash Course - Department of Performance Studies, NYU
Conference organized by Gerard Forde
(Participants: Marc Siegel, Danielle Goldman, Heather Love, Richard Move, Ara Osterweil)
Sept 16, 2014 Williams: The Production Line of Happiness
The Museum of Modern Art, New York
Panel discussion organized in conjunction with the exhibition.
(Participants: Devin Fore, R.H. Quaytman, John Kelsey, John Miller, Jeff Wall. Moderated by Roxana Marcoci, Senior Curator, Department of Photography, and curator of the exhibition at MoMA)
Apr. 16, 2014 Object Sculpture, 1960-1965 - Robert Morris in Conversation with Julia Robinson and Jeffrey Weiss – Artist Dialogue Series, New York Public Library
Apr. 12, 2014 “Whose Terms? Perspectives on Social Practice.”
The New Museum of Contemporary Art, New York –
Symposium organized by Johanna Burton and Alicia Ritson
Feb. 20, 2014 From New Artistic Paradigm to Museological Mandate: Music & Art after John Cage – contribution to symposium Music and Museums,Lorenzo de’ Medici - The Italian International Institute, Florence, Italy
Sept. 22, 2013 Who is Jack Goldstein?
The Jewish Museum, New York
Panel Moderator (Participants: Morgan Fisher, Robert Longo, Matt Mullican, Kathryn Andrews, and Paul Pfeiffer)
June 19, 2013 +/- 1961: Founding the Expanded Arts
Lecture followed by a public discussion with Christian Xatrec &
Simone Forti, Museo Nacional Centro de Arte Reina Sofia, Madrid
Apr. 27, 2013 Art by Telephone – Recalled,
Round Table organized by Sébastien Pluot, Emily Harvey Foundation, New York (Participants: Hannah Higgins, Nicholas Knight, Sylvia Kolbowski, Eve Meltzer, Bruno O’Keefe)
Feb. 16, 2013 The Social, the Relational, and the Participatory: A Reevaluation
Invited panelist, Society of Contemporary Art Historians, College Art Association Annual Conference, New York
Susanne Sachsse is an actress living in Berlin. She was a member of the Berliner Ensemble where she worked with Heiner Müller, Einar Schleef, and Robert Wilson. In 2001, she co-founded the art collective CHEAP. She has worked in theater, film and art contexts with Yael Bartana, Bruce LaBruce, Phil Collins, Keren Cytter, Vaginal Davis, Katya Sander, Jamie Stewart, and Vegard Vinge/Ida Müller. Sachsse’s first video installation Serious Ladies (2013) was exhibited among other locations at Kunst-Werke, Berlin. At 80WSE Gallery, New York she directed and performed in The Magic Flute, an Opera in 6 Steps. Sachsse played the lead roles in Bruce LaBruce’s movies Ulrike's Brain and The Misandrists (both 2017). In June 2017 she appears in What if Women Ruled the World? - a new production by Yael Bartana at the International Festival Manchester. Later this year, she will direct and perform in Original Sin, A Live Noir Road Movie Concert, a collaboration with Jonathan Berger, Phil Collins, and xiu xiu. At the 32nd Gudadalajara International Film Festival, she was the recipient of the Premio Maguey Queer Icon Award.
Ronald Sadoff is the Director of Programs in Film Scoring and Songwriting, having authored both their curricula and core courses. Sadoff composed the score for John Canemaker's, The Moon and The Son: An Imagined Conversation, starring John Turturro and Eli Wallach. The film premiered at The Museum of Modern Art and was awarded an Oscar in 2006. His scores include the 2013 film advocating for gun control, "Demand a Plan," featuring Julianne Moore and Philip Seymour Hoffman. In 2012, Sadoff produced the score for CNN's "Obama Revealed," broadcast throughout the final months of the presidential campaign. For Oscar-winning director Peggy Stern, he scored Chuck Jones: Memories of Childhood, which screened at The Telluride FIlm Festival in 2008/09 as part of a Warner Brothers retrospective. Produced for Turner Classic Movies, Chuck Jones premiered on TCM in 2009 in tandem with a group of rarely screened Looney Toons. Sadoff has been featured on CNN, having composed scores for film, radio, and television, including the acclaimed PBS Daughters of the Troubles featuring Angelica Huston, and the Oscar and Directors Guild winning film, Bleach. His theme and incidental music for Public Radio's What's On Your Mind? was heard throughout twelve years of its broadcast. The theme for NYU Doctor Radio, now in its fifth year and heard in forty hours of weekly programming on Sirius Satellite Radio, was co-composed with Ira Newborn.
In a melding of live performance and film, Dr. Sadoff, in collaboration with Tisch School of the Arts Animation Director John Canemaker, produced Toons, Tunes, and Trikfilms, a decade of performances for silent films featuring live ensembles, for the Film Society of Lincoln Center. As part of the 2008 Tribeca Film Festival, Dr. Sadoff produced an 80 minute score, composed by his film scoring students, for Rene Clair's 1928 silent masterpiece Les Deux Timides. Performed by the NYU Chamber Orchestra under the baton of Gillian B. Anderson and narrated by Tribeca's then Artistic Director Peter Scarlet, the scores garnered worldwide acclaim.
With "Disney Legend" Buddy Baker, Dr. Sadoff founded the NYU/ASCAP Foundation Film Scoring Workshop, a premiere and intensive training ground, now entering its fifteenth season. The Buddy Baker Film Score Collection, donated by Charlotte Baker, is a part of the Fales Special Collections in the NYU Bobst Library. The Leonard Rosenman Collection, donated by Judie Rosenman, was inaugurated into the collection in Spring 2009. Dr. Sadoff serves on the Advisory Board of the LA-based Film Music Society and is on the steering committee of the NY branch of The Society of Composers and Lyricists. He is an Advisory Board Member for the World Soundtrack Academy, part of the Ghent International Film Festival.
As Creative Director and Music Supervisor, Dr. Sadoff produced interactive websites in opera, film music, as well as the largest live webcast of its day, Michael Jackson and Friends from Munich, Germany. He served as the Executive Producer for the 2004 Koch International release of an all-Khachaturian CD featuring pianist Boris Berezovsky. Trained as a concert pianist, the New York Times wrote, "Sadoff played with a sure understanding of the structural requirements of the music - an impressive, strong, and incisive performance." He was featured on WQXR's Young Artist's Showcase and has performed throughout the United States and Europe. An avid proponent of 20th century music, he premiered works by Prix de Rome composer Kenneth Frazelle, and can be heard on the CD release, New Sounds from the Village on the Capstone label.
With conductor/musicologist Gillian B. Anderson, Sadoff is the co-founder and co-editor of the University of Illinois Press journal Music and the Moving Image. He serves as Chair for the NYU Steinhardt conference of the same name, now in its seventh year, presents over one hundred scholarly papers each year. His chapter “Scoring for Film and Video Games: Technology and the Collaborative Modalities of Post-Production in the Digital Realm” appears in The Oxford Handbook of Sound and Image in Digital Media, anbd traces the technologies and new aesthetics of music for media. He co-edited the 2005:1 issue of Film International and the Spring 2004 issue of American Music. A dedicated issue to Music and Moving Image, it included his co-written introduction and an article entitled "Composition by Corporate Committee: Recipe For Cliche." For the fifth edition of Guide To Research In Music Education (Scarecrow), he co-authored a chapter entitled "Technology in Music Education Research," the recipient of a Steinhardt Research Challenge Grant in 2001 and the Goddard Research Award in 2003. He is currently developing music education curriculum with the Hong Kong institute of Education.
His 2006 article, "The role of the Music Editor and the Temp Track as Blueprint for the Score, Source, and Scource Music of Film", for Popular Music" (Cambridge Univ Press) provides a rare window into the underlying aesthetic of post-production practices in Hollywood. Dr. Sadoff's discussion of composer Oliver Wallace is featured on Disney's 50th anniversary DVD edition of Lady and the Tramp.
Marc Siegel is currently Guest Professor of Film Studies at the Free University in Berlin. He is a film scholar with a focus on avantgarde film and queer studies who has numerous international publications. His book, A Gossip of Images, is forthcoming from Duke University Press. Siegel is also co-founder of the Berlin-based artist collective CHEAP and a member of the Advisory Board of the Forum Expanded.
Matthew Wilson Smith is the author of The Total Work of Art: From Bayreuth to Cyberspace (Routledge, 2007), which presents a history and theory of the Gesamtkunstwerk in relation to technology and mass culture, placing such diverse figures as Wagner, Moholy-Nagy, Brecht, Riefenstahl, Disney, Warhol, and contemporary cyber-artists within a genealogy of totalizing performance. He is the editor of Georg Büchner: The Major Works, which appeared as a Norton Critical Edition in 2011, and the co-editor of Modernism and Opera, published by Johns Hopkins University Press in 2016. His current book project, The Nervous Stage: 19th-century Neuroscience and the Birth of Modern Theatre, explores historical intersections between the performing arts and the neurological sciences and traces the construction of a “neural subject” over the course of the nineteenth century. It is forthcoming from Oxford University Press in October 2017.
Deborah Willis, Ph.D, is University Professor and Chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University and has an affiliated appointment with the College of Arts and Sciences, Department of Social & Cultural Analysis, Africana Studies, where she teaches courses on photography and imaging, iconicity, and cultural histories visualizing the black body, women, and gender. Her research examines photography’s multifaceted histories, visual culture, the photographic history of Slavery and Emancipation, contemporary women photographers and beauty. She received the John D. and Catherine T. MacArthur Fellowship and was a Richard D. Cohen Fellow in African and African American Art, Hutchins Center, Harvard University and a John Simon Guggenheim Fellow. Professor Willis received the NAACP Image Award in 2014 for her co-authored book (with Barbara Krauthamer) Envisioning Emancipation. Other notable projects include The Black Female Body A Photographic History, Reflections in Black: A History of Black Photographers – 1840 to the Present, Posing Beauty: African American Images from the 1890s to the Present, Michelle Obama: The First Lady in Photographs, a NAACP Image Award Literature Winner, and Black Venus 2010: They Called Her ‘Hottentot’.
Andrew Weiner is an interdisciplinary researcher whose work aims to theorize and historicize relations between aesthetics, politics, and media. His dissertation tracked the increasing convergence of these spheres in West Germany and Austria during the 1960s, focusing on "events"—new modes of public action that combined experimental art with radical demonstration. It considers the practices of artists such as Joseph Beuys, Jörg Immendorff, VALIE EXPORT, and Peter Weibel alongside those of activists on the emergent New Left. The project argues that this "aesthetico-political" field is a crucial precedent for contemporary production, especially because of its links to new forms of subjectivation and hegemony. In doing so, it seeks to re-evaluate arguments made by Jacques Rancière, Jacques Derrida, and Bernard Stiegler. Weiner's current research seeks to rethink the category of "global contemporary art" in terms of different circuits of South-South exchange. Against the increasing tendency to frame art in terms of false universals, his work examines the formation of alternative transnational networks alongside a history linking the Non-Aligned Movement to alterglobalization activists.
He received his Ph.D. in Rhetoric from UC-Berkeley in 2011, where he was supported by a Jacob K. Javits fellowship. Before coming to NYU he taught in the Graduate Program in Curatorial Practice at California College of the Arts and in the Prison University Project at San Quentin State Prison. His teaching interests include contemporary aesthetic theory, the history of exhibitions, and artistic research. He has published scholarly essays in journals including Grey Room, ARTMargins, and the Journal of Visual Culture, and regularly contributes critical writing to Texte zur Kunst and Afterall. He is currently editing a collection of texts on the emergence of discursive and research-based exhibition formats.
Most of these texts are available on the following page: https://nyu.academia.edu/AndrewWeiner
Antonius Wiriadjaja is an Assistant Arts Professor at NYU Shanghai. Prior to joining NYU Shanghai, he was a postdoctoral research resident and adjunct faculty at NYU Tisch's interactive telecommunications program (ITP) in New York City. He holds an MPS from NYU Tisch's ITP and a BA from Hampshire College.
Wiriadjaja’s research interests are performance, technology, and the traditional arts. His writing has appeared in art:21 blog, THEME magazine, and Monkeybicycle.
Wiriadjaja performs as an actor, dancer, and musician to sold-out audiences at venues including the Kitchen, the Stone, and Lincoln Center. His work combines programming and circuit hacking to manipulate sound, video, and imagery for live performance and installations. He received the Sony Electronics Scholarship from the Tisch School of the Arts in 2012 and was named NY1’s New Yorker of the Week on August 16, 2013.
Jian-Jun Zhang is a Clinical Assistant Arts Professor at NYU Shanghai. He is an internationally known artist with exhibits worldwide, having recent shows in China, the United States, and Europe, including the Metropolitan Museum of Art in New York and the National Art Museum in Beijing, China. He holds a Graduate Degree in Fine Arts from the Art Department of the Shanghai Drama Institute.
Zhang has permanent public sculptures in Changning District, Shanghai, and other private collections. His books include the retrospective catalogs Zhang Jian-Jun and Water, and his work has appeared in art history books Art China, Chinese Contemporary Art History, and Chinese Painting: 250 Years, as well as many other historical, museum, and gallery publications. His artwork has appeared in ARTnews, Art in America, Art Contemporary China, Asia-Pacific Art, The New York Times, and many other international art publications.
Professor Zhang has received an Asia Cultural Council Fellowship, two Pollack-Krasner Foundation Grants, and a New York Foundation for the Art Fellowship, etc. He has been an Assistant Director & Head of the Curatorial Department of the Shanghai Art Museum and participated in the International Curatorial Program at MoMA in New York. Zhang utilizes his experience living in Chinese and Western cultures to create multimedia artwork that integrates this unique outlook.
B.A., University of London; M.A., Institute of United States & Latin American Studies, London; Ph.D., University of London
Shamoon Zamir works in the areas of literature, photography and intellectual history. His study of the African American writer W.E.B. Du Bois explored literature’s dialogues with philosophy and sociology and his new book, The Gift of the Face, explores the relationship of aesthetics and ethics in the work of the early twentieth-century photographer Edward S. Curtis and examines the ways in which image and text, art and science, pictorialist photography and anthropology come together in Curtis’s portraits of Native Americans. Prof. Zamir has in addition published on twentieth-century African American and Native American fiction and on modern poetry, and has translated short stories from Urdu. He was the co-founder of Talus, a small press and journal specializing in poetry, contemporary international writing and cultural studies and is series editor for American Studies: Culture, Society & the Arts.
His current projects include studies in twentieth-century American photography and literature. He is also the Director of Akkasah: Center for Photography at NYUAD. The center is developing a photographic archive, and also a conference and exhibition series devoted to photography, with a primary focus on the Middle East.
Prof. Zamir studied English and American literatures and American Studies at the University of London and has taught at the University of Chicago, York University and the University of London before joining NYUAD.