Manal Abu-Shaheen is a photographer. She received her MFA in Photography from the Yale School of Art, New Haven, CT in 2011; a BA from Sarah Lawrence College, Bronxville, NY in 2003; and attended Lebanese American University, Byblos, Lebanon in 1999. Her work has been exhibited at the Queens Museum, Queens, NY (2016); The Center for Fine Art Photography, Fort Collins, CO (2016); Crosstown Arts, Memphis, TN (2016); The Bronx Museum of the Arts, Bronx, NY (2015); The Print Shop at MoMA PS1, Queens, NY (2014); Camera Club of New York, NY (2013); and Welch School of Art and Design Galleries, Atlanta, GA (2012), among others. She is a recipient of the 2016/17 A.I.R Gallery Fellowship, and the 2015 Artist in the Marketplace Residency at the Bronx Museum of the Arts. She is a 2016/17 participant in Lower Manhattan Cultural Council's Workspace residency program. Manal works as a College Laboratory Technician and an adjunct instructor teaching photography at CCNY.
Becca Albee's work includes photography, sculpture, video, and performance. She received her MFA from the University of North Carolina at Chapel Hill, a BA from The Evergreen State College in Olympia, Washington, and attended Skowhegan School of Painting and Sculpture. Her work has recently been written about in The New York Times, Hyperallergic, The Daily Beast and Bomb. Recent residencies and fellowships include, LMCC Workspace, MacDowell Colony, and Yaddo.
Molly Emma Aitken is a specialist in Asian art history, in particular the arts of South Asia. She received her Ph.D. from Columbia University in 2001 with a concentration on the art of South Asia. She has curated traveling exhibitions on South Asian jewelry and contemporary folk quilts, and has published numerous articles on Mughal and Rajput painting. Aitken received CAA's Charles Rufus Morey book award in 2011 and the AAS Ananda Kentish Coomaraswamy Book Prize in 2012 for her book The Intelligence of Tradition in Rajput Court Painting (New Haven: Yale University Press, 2010). Currently focused on the late 16th and early 17th centuries, she is looking at Mughal receptions of Rajput court arts in the context of social pleasure.
Erica Bailey is a multimedia artist whose work explores themes of alienation, disorientation, indeterminacy, anxiety, and senselessness through built environments of varying scale. Originally from Ohio, she holds a BFA in sculpture from The Ohio State University and an MFA in three-dimensional media from the University of Cincinnati. She has constructed several large-scale installations, including a small, two-story structure, titled The House that was Haunted Before It was Built (2007), at the Aronoff Center for Art and Design at the University of Cincinnati and a second free-standing house project, Telescoping House (2010), for the UnMuseum of the Cincinnati Contemporary Arts Center. She has been a recent resident artist at the NARS Foundation in Brooklyn.
Patterson Beckwith is an artist whose work involves the making of photographs, sculptures, videos and performances. He holds a BFA from The Cooper Union and an MFA from the University of California, Los Angeles. Beckwith was a member of the collaborative group Art Club 2000, which was founded in 1992. The group mounted seven yearly exhibits at American Fine Arts, Co from 1993-1999 and had a retrospective exhibition at Museo Carillo Gil, Mexico City, in 2000, and an exhibition in 2008 in London at Wolfgang Tillman’s “Between Bridges” gallery. His editorial photography has appeared in Artforum, Purple, Index, Paper, and Vice magazine. Beckwith’s solo exhibitions include American Fine Arts, Co NYC (2002 and 2004;) Daniel Hug Gallery, 2006 and Mesler + Hug Los Angeles, 2009. His photo essay, “Bananas For Moholy-Nagy”, is the subject of a monograph of the same title published in 2010 by The Los Angeles County Museum of Art. Beckwith's work has appeared recently at the Tate Modern in London, the Institute for Contemporary Art, Philadelphia, and the New Museum for Contemporary art in New York.
Colin Chase’s work includes sculpture and installations. Prof. Chase received an AAS from FIT, BFA from Cooper Union and an MFA from the University of Michigan School of the Arts. Solo exhibitions include June Kelly Gallery in NYC, RosenwaldWolf Gallery, The University of the Arts, Philadelphia, PA, The Olin Art Gallery in Gambier, Ohio and The Phillips Museum Franklin & Marshall, Lancaster, PA. Public commissions: The Malcolm X memorial from DCA in New York and The Queens Hospital Center DASNY, The New York Health and Hospitals Corporation, Percent for Art Program. Group shows include Socrates Sculpture Park, Gallery 128, Exit Art/The First World, The Neuberger Museum, The Contemporary Art Center of Virginia in Virginia Beach, The Institute for Contemporary Art, The P.S.1 Art Museum, Long Island City, NY, and The Studio Museum in Harlem, NY. Articles written on Colin Chase can be found in The New York Times, Art Matters, ART News and Newsday. He is in the collections of the Studio Museum in Harlem, Prudential Life Insurance Company, Schomburg Center for Research in Black Culture, AT&T and The New School New York.
Joshua Cohen (B.A. Vassar College, Ph.D. Columbia University) is a historian of African art specializing in 20th-century cross-cultural exchange. His areas of interest include modernist appropriations of African sculpture; histories of West African national cultural policies and ballet performance; “primitivism” in art practice and discourse; postcolonial studies; museum studies; and global modernisms. He is the recipient of Fulbright, Lurcy, Kittredge, Dedalus, Mellon, Whiting, and other fellowships. His first book-length project tracks African and European modernist engagements with African sculpture between 1905 and 1980. A second project builds on research conducted in Guinea and elsewhere since 2002, examining international staged productions of West African dance, music, theater, and masquerade. An initial essay on Fodéba Keita and Les Ballets Africains was published in 2012.
Marit Dewhurst is the Director of Art Education and Assistant Professor of Art and Museum Education. She completed her doctorate in education from Harvard University in 2009 youth empowerment, activist art-making, and social justice education. She has worked as an educator and program coordinator in multiple settings both nationally and abroad including community centers, museums, juvenile detention centers, and international development projects. Prior to joining the faculty at CCNY, she founded and coordinated The Museum of Modern Art’s free studio arts programs for teens. She is currently the advisor to the youth-led Museum Teen Summit. Publications include chapters in several books on the use of art in social justice education and articles in The Journal of Art Education, Excellence and Equity in Education, and The Journal of Research Practice. In addition, she has collaborated on an exhibition and book on traditional art and HIV/AIDS education with partners. Her research and teaching interests include social justice education, community-based art, anti-bias/multicultural education, youth empowerment, and the role of the arts in community development.
Carl fudge’s work incorporates printmaking, painting, and recently sculpture. His work has been exhibited extensively, both nationally and Internationally. Museum show venues include The Whitney Museum of American Art, The Brooklyn Museum, The Seattle Museum, The Denver Art Museum, the Philadelphia Museum, The Museum of Fine Arts Boston, The Royal Academy, London, The Seiji Togo Museum of Art, Shinjuku, Japan, The Whanki Museum, Seoul, South Korea and The Daejeon Municipal Museum of Art, Daejeon, South Korea among others.
He is represented in New York by Ronald Feldman Gallery and by Gallerie Takako Richard in Paris, France.
Ellen Handy is a historian, curator and critic of photography and modern art. She teachers courses in the history of photography, art of the United States, art criticism, and research methods in art history. Previously, she was Executive Curator of Visual Collections at the Harry Ransom Humanities Research Center of the University of Texas, Curator of Collections and Exhibitions at the International Center of Photography, Senior Research Assistant in the Department of Photographs at the Metropolitan Museum of Art, and a regular columnist for Arts Magazine. She received her PhD from the Department of Art and Archaeology at Princeton University, and her BA from Barnard College of Columbia University. Her research interest include landscape and urban imagery in photography and other mediums, intersections of art and science in 19th century photography, women and photography, connoisseurship in photography, printed ephemera, and early modernism in visual and literary culture in the United States.
Craig Houser has a B.A. in art history from Carleton College, an M.A. from Hunter College, and a Ph.D. from the CUNY Graduate Center. His scholarship focuses on modern and contemporary art in relationship to issues related to gender and sexuality, as well as institutional and social politics. He also has substantial experience working in museums as a curator and educator. He was a curatorial fellow in the Whitney Museum Independent Study Program and an assistant curator at the Solomon R. Guggenheim Museum in New York. In addition, he was also an editor for College Art Association, which publishes the Art Bulletin and Art Journal. Houser’s publications include "Rachel Whiteread: Vienna Holocaust Memorial," in Theories and Documents of Contemporary Art (University of California Press); "The Changing Face of Scholarly Publishing: A History of CAA’s Publications," in The Eye, the Hand, the Mind: The College Art Association and the Visual Arts since 1911 (Rutgers University Press); and "Disharmony and Discontent: Reviving the American Art-Union and the Market for United States Art in the Gilded Age," Nineteenth Century Art Worldwide 11, no. 2 (Summer 2012).
Anna Indych-López specializes in the modern art of Latin America, specifically Mexico. She received her Ph.D. from the Institute of Fine Arts of New York University in 2003. Her work focuses on exhibition culture, cross-cultural perceptions, reception analysis, and the relationship between art and politics. A frequent contributor to exhibition catalogues on Modern Mexican and Latin American art, she has also published on contemporary Latino/a artists. She received the College Art Association's Wyeth Foundation for American Art Publication Grant for her book Muralism without Walls: Rivera, Orozco and Siqueiros in the United States, 1927-1940 published by the University of Pittsburgh Press in 2009 and is co-author (with Leah Dickerman) of Diego Rivera: Murals for The Museum of Modern Art published by MoMA in 2011.
Lise Kjaer received her Ph.D. in Art History from the Graduate Center, City University of New York in 2008. She teaches undergraduate and graduate courses in twentieth century and contemporary art, art history survey and MFA seminars. Her area of research includes issues of identity in modern and contemporary art, and global art history. Kjaer’s dissertation Awakening the Spiritual: James Turrell and Quakerism considered the artist’s light installations in view of his renewed interest in Quakerism, Quaker tenets, history and tradition. Current research involves an anthology (co-edited with Dr. Will Wroth) on the scholar Ananda K. Coomaraswamy’s influence on twentieth century art, tracing the impact of the writer and curator’s publications, exhibitions and scholarly involvement with South Asian art on twentieth century American, Asian and European art and art history. Kjaer has previously received an MFA with Distinction from the Academy of Fine Arts in Warsaw, Poland in 1992. She has exhibited internationally in Denmark, Finland, Germany, Poland and the United States, and been awarded a Fulbright Scholarship, Bamse Kragh-Jacobsen’s Award, and been a fellow of NIFCA, a Nordic artist in residency program in Helsinki, Finland; The Danish Art Council's Residency at Hirsholmen; TSKW, The Studios of Key West; The Danish Visual Artists' Berlin Residency Program; and Jeckels Hotel AiR, Denmark. Along with her scholarly work in art history, Kjaer continues her art practice exhibiting sculptures and installation pieces that are often time-based, ephemeral and participatory inviting the viewer to become a part of the work.
Abby Kornfeld specializes in medieval art and architecture. She holds a joint appointment with the program of Jewish Studies in the Department of Foreign Languages and Literature. She received her Ph.D. from the Institute of Fine Arts of New York University in 2013. Her work focuses on the intersections between Jewish, Christian, and Islamic art across the medieval Mediterranean. Her forthcoming book resituates three Hebrew illuminated manuscripts within the broader context of medieval art in late fourteenth century Spain. Her research has won the support of the Metropolitan Museum of Art, the Memorial Foundation for Jewish Culture, and the Wexner Foundation. In addition, she curated an exhibition at the J. Paul Getty Museum in Los Angeles on the eventful and often tumultuous lives of medieval manuscripts after the rise of the printing presses.
Hajoe Moderegger works in collaboration with Franziska Lamprecht as eteam. Their work fuses land ownership, participation and utopian ideas through the use of new media tools and physical presence. They have produced work in many media including video, web, installation and live performance. Their work has been featured at the PS1, New Museum, Eyebeam, Momenta Art, Art in General, MUMOK Vienna, Neues Museum Weimar, Museo Nacional Centro de Arte Reina Sofia, Madrid, TIDF Taipei the 11th Biennial of Moving Images, Geneva and the 41st International Film Festival Rotterdam. They have been awarded a NYSCA film & media grant, a Marion Ermer Grant and a Creative Capital Grant in emerging media. They are fellows of Macdowell and Yaddo and were the recipients of a John Simon Guggenheim Fellowship.
Joseph Moore's artistic work focuses on issues relating to perception, interpretation, and interaction. His conceptually based practice incorporates multiple media and approaches to art-making, from computer programming and appropriation to sculpture and collaboration. He has exhibited as a solo artist and collaboratively with ShiftSpace.org, a group of artists, designers, and programmers in venues such as SFMOMA in California, USA and the STUK Kunstencentrum in Leuven, Belgium. Recently, he created a realization of artist Brion Gysin's "Permutation Poems" for the show Brion Gysin: Dream Machine at The New Museum for Contemporary Art in New York. Joseph holds an MFA in Media Arts from Bennington College.
Sylvia Netzer has had several recent one-person exhibitions: Disturbing, 2003, Appetites, 2004, and Hopeful Monsters, 2007. She has participated in many group shows, including the Fat Attitudes show at Columbia University, the encaustic exhibition at William Paterson College, and the auction for the Watermill Center for Arts and Humanities. She had a residency at the Glen Gerry Brick factory in York, Pennsylvania in 2006, and in 2007 she co-curated an exhibition, Women Touch: Ceramics at A.I.R. Gallery. She also curated several shows at Gallery 128 on the Lower East Side and at A.I.R. Gallery and was included in “One True Thing” at the A.I.R. and Putney School, Vermont, curated by Dena Muller. She was twice-nominated for a Louis Comfort Tiffany grant, 2005 and 2007, and for the annual exhibition of the American Academy of Arts and Letters, 2006. She teaches courses in all areas of ceramics, on the graduate and undergraduate levels.
Maria Politarhos is a photographer who uses traditional photography, photo-printmaking and historic alternative photographic methods in her work. She studied photography at the Fashion Institute of Technology and The City College of New York, where she completed her MFA in 2000. Maria works as a College Lab Technician/Photo Lab Manager and an adjunct instructor teaching photography at CCNY.
Ina Saltz works primarily in print-based media design with a specialization in typography and publication design. Her creative work consists of photographic and written documentation of the cultural phenomenon of textual tattoos with respect to their typographical significance and the implication of the lettering style in relation to the content. She also writes on a variety of design-related topics for several professional graphic design journals. She is the author of the following books: "Body Type: Intimate Messages Etched in Flesh,"  a photographic documentation of typographic tattoos; "Typography Essentials: 100 Design Principles for Working with Type,"  a guide for professional designers; "Body Type 2: More Typographic Tattoos,"  a second volume of her photographic documentation; and is co-author of "Typography Referenced: A Comprehensive Visual Guide to the Language, History and Practice of Typography,"  a reference book for professional designers and students of typography.
Harriet F. Senie is director of the MA program in art history and art museum studies and teaches the required museum studies seminars in that area. She also teaches Contemporary American Art at the CUNY Graduate Center. In Fall 2000, Prof. Senie was Visiting Distinguished Professor at Carnegie Mellon University. She previously served as Associate Director of the Princeton Art Museum and Gallery Director at SUNY, Old Westbury.
Her chief research areas are public art, memorials, memory and material culture, the American landscape tradition (themes of the road in American art and culture), and contemporary pilgrimage practice. In 2008, she co-founded with Professor Cher Krause Knight (Emerson University), Public Art Dialogue, an international organization that is also a CAA affiliate. The journal, Public Art Dialogue, that she co-edits with Prof. Knight, appears twice annually and is the only peer review journal devoted to public art.
Mark Addison Smith's design specialization is typographic storytelling, allowing illustrative text to convey a visual narrative through printed matter, artist's books, and site installations. With his on-going, text-based archive, You Look Like The Right Type, he has been illustrating snippets of overheard conversations every day since 2008 and exhibiting them as larger-scale conversations in venues including Brooklyn Artists Gym, A+D Gallery in Chicago, and MAGMA Brand Design's Slanted Magazine. He has spoken about linguistics and letterforms—specifically as they relate to gender dynamics within bathroom graffiti—at American University and Manchester Metropolitan University, and is included in the permanent collection of the Kinsey Institute at Indiana University and the Special Collections and Archives of the James Branch Cabell Library at Virginia Commonwealth University. He holds a Master of Fine Arts from the School of the Art Institute of Chicago.
Tom Thayer teaches in the Painting/ Drawing and Foundations area, and in the Studio MFA Program. Thayer utilizes a wide spectrum of mediums in his artistic practice, including animated videos, painting, drawing, sculpture, sound, performance, collaborative work- shops, and experiments in empirical education. Often, these modes are presented together, in an immersive experience. His work has been exhibited at the 2012 Whitney Biennial, The Museum of Fine Arts Houston, Sculpture Center, The Kitchen, International Project Space, Birmingham, UK, ARTSPACE, New Haven, CT, MoMA PS1, White Columns, The Living Theater, Issue Project Room, Printed Matter, The Museum of Contemporary Art Chicago, BBC Radio 3, and other national and international venues. He is represented by Derek Eller Gallery, New York and, as the collaborative team Miko + Thayer, by Eleven Rivington Gallery, New York.
Annette Weintraub is the founder of the Department’s Electronic Design and Multimedia program, and currently EDM Director. She teaches EDM courses in Design for the Web, BFA Thesis and Electronic Design I and in the DIAP MFA program. She is a media artist whose work is an investigation of architecture as visual language; her projects explore the dynamics of urban space, the intrusion of media into public space and the symbolism of space. Currently showing in “Sacred Journey: Walking as Mediation” at The Minneapolis Institute of Arts, past exhibitions include ISEA 2011 in Istanbul, The Whitney Museum of American Art in the first Biennial to include internet art, at ICP [International Center of Photography], International Film Festival/Rotterdam, Thirteen/WNET TV’s Reel New York.Web, Museo Nacional de Bellas Artes in Buenos Aires; FILE in Brazil; 5th Biennial of Media and Architecture in Graz and numerous other national and international venues. Commissions include: The Rushlikon Centre for Global Dialogue, CEPA, and Turbulence. She has also been a panelist in Computer Arts for the New York Foundation for the Arts [NYFA].