Find Academic Supervisors

Matthew BallouView profile

Teaching Professor

• Painting
• Drawing
• Mandala Studies
• +4 more

Matthew Ballou is a Full Teaching Professor of Painting and Drawing in the School of Visual Studies at the University of Missouri, where he has taught since 2007 and was promoted to his current rank in 2019. His academic home resides within the university's visual arts ecosystem, focusing on foundational studio practices and contemporary art theory. Ballou's research explores Eastern and Western Mandala forms, investigations into artists like Miyoko Ito and Richard Diebenkorn, and the intersection of natively digital art practices with physical materials. His scholarly work extends to developing pedagogical applications of technology in art education and utilizing CNC routers and laser engravers in artistic creation. His artistic output includes the WHENEVERwhen series, The Impossible Interior paintings addressing the 2015 Kunduz hospital bombing, and collaborative projects with artists Joel T. Dugan and Geo K. Weissler. His writing career spans over twenty years with notable publications including a cover feature on Odd Nerdrum in Image Journal , a profile on Joey Borovicka in The New Territory , a Diebenkorn retrospective review for neotericART , and recent contributions to Oxford University Press's Grove Art. He has curated exhibitions across multiple states and maintains active artistic collaborations. Outstanding Graduate Faculty Award from University of Missouri Graduate Student Association (2012) William T. Kemper Fellowship for Teaching Excellence Nominee (2019, 2020) Ballou's educational background includes a BFA from the School of the Art Institute of Chicago (2001) and an MFA from Indiana University (2005). His artistic practice integrates traditional painting and drawing with digital fabrication techniques, while his teaching philosophy emphasizes attention, presence, and engagement with artistic lineages. Recent projects include memorial works for Eric Sweet and documentation of cosmic events like Comet Tsuchinshan–ATLAS, reflecting his ongoing exploration of temporality and perspective.

Alexander NemerovView profile

Professor

• American Art
• European Art
• Modern Art
• +3 more

Alexander Nemerov is the Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities at Stanford University, where he has served as chair of the Department of Art and Art History (2015-2021). A distinguished scholar of American culture, his research explores the emotional and ethical dimensions of art, with a focus on American and European art from the 19th to 21st centuries. Education: B.A. in Art History and English, Cum Laude and Phi Beta Kappa, University of Vermont Ph.D. in History of Art, Yale University Nemerov's publications span innovative art-historical analysis and interdisciplinary inquiry. His work examines art's capacity to reveal emotional truths and interrogate historical consciousness, as demonstrated in his acclaimed books on Helen Frankenthaler, Lewis Hine, and Diane Arbus. His research intersects with literature, philosophy, and cultural studies. Scientific Awards & Recognitions: Short-listed for the 2021 National Book Critics Circle Prize in Biography Choice Outstanding Academic Title (Wartime Kiss: Visions of the Moment in the 1940s) Choice Outstanding Academic Book (Acting in the Night: Macbeth and the Places of the Civil War) Endorsement from The New York Review of Books for 'Icons of Grief' Delivered the Andrew W. Mellon Lectures (2017) at the National Gallery of Art Nemerov's book publications (2001-2023) demonstrate recurring themes in American art history, particularly around 1940s-1950s visual culture, the intersection of art and personal/family narratives, and the ethical responsibilities of artistic interpretation. His 2017 Mellon Lectures marked the first time these prestigious lectures focused on American art.

Karin RoffmanView profile

Senior Lecturer

• American Literature
• Modern and Contemporary Poetry
• Literary Biography
• +7 more

Karin Roffman is a Senior Lecturer in the Department of English at Yale University, with affiliations in Humanities, American Studies, and Public Humanities. She also serves as the Associate Director of Public Humanities, contributing to interdisciplinary initiatives that bridge scholarship and public engagement. Her research focuses on 20th and 21st-century American literature and art, particularly the lives and works of poet John Ashbery and painter Jane Freilicher. She has published extensively on modernist and contemporary writers and artists, with a strong emphasis on archival research and literary biography. Roffman’s recent publications span biographical, poetic, and interdisciplinary themes. Her articles reflect a deep engagement with literary influence, the intersection of music and poetry, and the material culture of artistic creation. The works collectively emphasize archival discovery, intertextuality, and the role of personal artifacts in shaping artistic identity. She has received significant recognition for her scholarship, including: Named one of the 100 Notable Books of 2017 by The New York Times Winner of the University of Alabama Press’s American Literature Elizabeth Agee Manuscript Prize Her research has been supported by major grants from ACLS (twice), the Howard Foundation, NEH, Houghton Library, Harry Ransom Center, and the American Philosophical Society. She is actively involved in digital humanities, notably through the project John Ashbery’s Nest , a virtual tour of Ashbery’s Hudson house developed in collaboration with the Yale Digital Humanities Lab. While no students are listed, her role as a senior lecturer and mentor in public humanities suggests advisory involvement. Roffman leads and contributes to innovative interdisciplinary teams, especially in digital archiving and public-facing humanities projects. Her work exemplifies a commitment to making literary and artistic legacies accessible through technology and narrative scholarship.

Oliver BotarView profile

Professor

• Biocentrism
• Modernism
• Central European Modernism
• +6 more

Dr. Oliver Botar is a Professor at the School of Art, University of Manitoba , where he serves as Associate Director, Graduate Programs and Research . Drawing on interdisciplinary training in Urban Geography, Art History, and Urban Planning, his work bridges Biocentrism, Modernism , and Central European Art , with a focus on the Bauhaus movement and its Canadian connections. He is a leading scholar on László Moholy-Nagy and has significantly reshaped understanding of Biomorphic Modernism . PhD in Art History (University of Toronto, 1998) Specializes in 18th-20th Century Western Art/Architecture Minor in Ancient Greek and Hellenistic Art/Architecture His transnational research examines the interplay between nature and modernity, Hungarian-Canadian artistic exchanges, and the indigenization of art history curricula. He has organized exhibitions at institutions like the Guggenheim Museum and Museum of Modern Art , with a curatorial focus on knowledge mobilization through exhibitions. Recent publications include Sensing the Future: Moholy-Nagy, Media and the Arts (2014) and Cannibalizing the Canon: Dada Techniques in Central and Eastern Europe (2023, Editor-in-Chief). He has received awards such as the Melva J. Dwyer Award (2010) and Mitacs Accelerate Fellowships . Dr. Botar mentors students in Art History and Studio Arts, with mentees pursuing advanced studies at institutions like the Courtauld Institute and Columbia University . He has served on MA, MFA, MArch, and PhD committees in Canada, the US, and Europe. His collaborations with designers like Lars Müller and Zab Hobart highlight his commitment to integrating academic rigor with visual innovation.

Erik ŠilleView profile

Lecturer

• Contemporary Painting
• Visual Art
• Figurative Abstraction
• +2 more

Erik Šille is a visual artist and preparatory course leader at the Department of Painting, Academy of Fine Arts in Bratislava. Born in 1978 in Rožňava, Slovakia, he has established himself as one of the most successful painters in Central Europe with an active exhibition history across Europe. Šille's artistic practice primarily focuses on acrylic paintings characterized by meticulous surface structures and bold visual language. His work spans various scales from small format pieces to large-scale canvases, often incorporating text elements and symbolic imagery that engage with contemporary social and existential themes. His distinctive visual vocabulary blends abstraction with figurative elements, creating works that explore identity, communication, and the human condition. His recent works from 2022-2023 demonstrate a consistent thematic trajectory with titles suggesting ongoing exploration of connection, conflict, and existential questioning. The paintings range from intimate small-scale works to expansive canvases, showing his versatility across formats while maintaining a cohesive artistic voice. Šille has participated in prestigious residency programs including the 6x9 residency in Banská Bystrica (2012) and Youkobo Art Space residency in Tokyo, Japan, which have informed his international perspective. His notable exhibitions include 'ERIK ŠILLE: error' at Kunsthalle Bratislava (2017) and 'Happiness is Within Reach' (2018). His first catalog, 'Prvý katalóg Erika Šilleho', published by Krokus Gallery in 2011, features works from 2006 onward and includes critical texts by Vladimír Beskid and Norbert Lacko who contextualize his painting program within societal and media changes since the 1990s.

Keith MayersonView profile

Professor

• Contemporary Art
• Painting
• American Cultural Iconography
• +4 more

Keith Mayerson serves as Professor of Art at the University of Southern California, where he maintains an active studio practice alongside teaching. His career spans over 30 years of professional exhibitions, including prominent showcases at the Whitney Museum of American Art, Museum of Modern Art (MoMA), and Los Angeles County Museum of Art (LACMA). Current and upcoming institutional engagements include the Whitney's Shifting Landscapes (2024-2026), My American Dream: On Sesame Street (2024), and the Aspen Art Museum's Rocky Mountain High (2026). Mayerson's artistic practice investigates American identity through allegorical narratives rendered in oil on linen and pastel. His signature installations position individual works as visual prose poems, where viewers complete meaning through contextual engagement. Central themes include national trauma (9/11), cultural nostalgia (Sesame Street, John Denver), and biographical portraiture (Joan Didion, Elaine de Kooning), consistently exploring the tension between mundane reality and transcendent possibility. Major series like My American Dream dissect societal values through iconic figures while maintaining formal rigor. Analysis of Mayerson's 2003-2025 output reveals evolving engagement with American iconography, progressing from textual explorations ( Alchemy of the Word , 2003) to complex historical reexaminations ( End of Days , 2018). Recent works demonstrate heightened synthesis of popular culture and political history, particularly in his Sesame Street and James Dean projects. His technique balances photorealistic detail with expressive brushwork, creating layered commentaries on collective memory where formal composition directly serves narrative depth. Mayerson's work resides in permanent collections including the Whitney, MoMA, LACMA, SFMOMA, Berkeley Museum, Cleveland Museum of Art, and RISD Museum. His graphic novel Horror Hospital Unplugged (with Dennis Cooper) is influential in alternative comics, and he is currently developing a James Dean graphic novel for Fantagraphics.

• Fine Arts
• Painting
• Visual Arts
• +3 more

Ján Triaška is an Associate Professor at the Faculty of Fine Arts , Academy of Arts, Architecture & Design in Prague, where he serves as Head of the Department of Painting and STARTUP studio manager. His academic career focuses on visual arts, painting, and interdisciplinary art education. His research interests span theoretical and historical foundations of fine arts innovative pedagogical approaches in painting intermedia and digital media integration contemporary artistic practices with a particular emphasis on symbolic and narrative representation. The exhibited works demonstrate a strong focus on temporal and spatial art anatomical and bio-art themes polish cultural heritage documentation digital media narratives across various formats including installations, paintings, and mixed reality projects. Contact: jan.triaska@gmail.com

Nancy MorrowView profile

Associate Professor

• Mixed Media Art
• Contemporary Painting
• Identity and Personhood
• +3 more

Nancy Morrow is an Associate Professor and MFA Program Director in the Department of Art at Kansas State University (KSU), part of the College of Arts and Sciences. She holds an M.F.A. in Painting and Drawing from the University of Washington (1991) and a B.F.A. in Painting from the same institution (1983). A recipient of the Kansas Arts Commission Mid-Career Fellowship (2009), Morrow’s work explores themes of identity, memory, and personhood through mixed media, blending watercolor, gouache, acrylic, and digital elements. Her research investigates the blurred boundaries of human cognition and care, particularly in contexts of dementia and aging. Exhibitions include over 100 shows across the U.S. and internationally, including solo exhibitions at the A.I.R. Gallery (Brooklyn), Eastern Washington University, and Kansas Wesleyan University. Group exhibitions include the Kochi-Muziris Biennale (India), the Fitchburg Art Museum (MA), and the Springfield Art Museum (MO). Recent works like Synchronicity (2025) and Water Meets Land Meets Water (2024) exemplify her layered, interdisciplinary approach. Awards include Best of Show (2011 River Market Regional Exhibition) and a 2024 University Small Research Grant. Morrow’s career also includes residencies at Banff Centre (2020) and the Skowhegan School (1990). She has been represented by the A.I.R. Gallery since 2005, and her work is in collections at the Marianna Kistler Beach Museum of Art and the Wichita Art Museum. Her grants include multiple USRG awards (2024, 2020, 2016) and a 2011 faculty sabbatical. Teaching and outreach activities include lectures at Lesley University, Trinity College, and the Kochi-Muziris Biennale. Morrow’s artistic practice bridges fine art, cultural critique, and interdisciplinary dialogue, reflecting her commitment to exploring human experiences through visual innovation.

David BrinleyView profile

Associate Professor

• Editorial Illustration
• Fine Arts
• Digital Art
• +3 more

David Brinley is an Associate Professor of Art and Design at the University of Delaware, where he teaches and mentors students in illustration and fine arts. He holds an M.F.A. from the University of Hartford Art School (2010), a B.F.A. with Distinction from Art Center College of Design (1998), and a B.F.A. from the University of Delaware (1994). His work spans editorial illustration for major publications like TIME, Rolling Stone, and Entertainment Weekly, alongside personal gallery exhibitions and collaborations with renowned artists and bands. Education: M.F.A. (2010), B.F.A. (Distinction, 1998), B.F.A. (1994) Brinley’s research focuses on editorial illustration, portraiture, and fine arts, blending traditional techniques like acrylic painting with digital media. His work explores themes of labor, mortality, cultural narratives, and social issues. He has been featured in prestigious annuals such as American Illustration, Communication Arts, and Society of Illustrators exhibitions. Awards include the 2012 Delaware Division of the Arts Fellowship and recognition in Lürzer's Archive's '200 Best Digital Artists.' His art has been showcased nationally, including solo exhibitions at Mezzanine Gallery (2013) and group shows at the Biggs Museum of American Art. He has designed album covers for bands like GHOST and Richie Stotts, merging artistic vision with commercial projects. Awards: Individual Artists Fellowship, Society of Illustrators Recognition, Grammy-recognized work Brinley’s advising and creative collaborations extend to music and publishing industries, reflecting his interdisciplinary approach. His work often addresses contemporary issues through visual storytelling, bridging academic and professional art worlds.

Kristina WilsonView profile

Professor

• Design History
• Art History of the U.S.
• Race and Gender Studies
• +3 more

Kristina Wilson is a Professor of Visual and Performing Arts and Director of Art History at Clark University. Her expertise lies in modern design history, focusing on race, gender, and identity in 20th- and 21st-century art and museums. She holds degrees from Yale University (B.A., M.A., M.Phil., Ph.D.) and has authored influential works like Mid-Century Modernism and the American Body (2021). Her research explores how race and gender shaped design practices and public encounters with art. Education: B.A. and Ph.D. in History of Art from Yale University (1993, 2001). Awards include the Charles C. Eldredge Prize (2009) and the Association of Art Museum Curators’ First Prize (2016). She has secured grants from the Terra Foundation, Smithsonian American Art Museum, and others. Teaching focuses on modern art and design history, including courses on modernism, art museums, and gender representation. Research initiatives include studies on mid-century Black designers and the racial dynamics of design ecosystems in New York City. Grants and fellowships include the Terra Foundation grant (2022–2023) for research on race in design history and a George Gurney Senior Fellowship (2020). Her work bridges archival scholarship with public engagement, exemplified through collaborations with museums and media outlets like the New York Times.

Richard ShiffView profile

Professor

• Modern Art
• Contemporary Art
• Art Theory
• +3 more

Richard Shiff is a Professor of Art History and the Effie Marie Cain Regents Chair in Art at the University of Texas at Austin. He directs the Center for the Study of Modernism, which focuses on interdisciplinary research into modern and contemporary art and theory. His work bridges historical analysis and critical discourse, emphasizing key movements and artists. Shiff’s research interests span modern and contemporary art, with a particular focus on pivotal figures such as Cézanne, Barnett Newman, Ellsworth Kelly, and Donald Judd. He explores themes like Post-Impressionism, Abstract Expressionism, Minimalism, and installation art, alongside broader theoretical questions in art criticism and modernist practice. He has received the distinguished Effie Marie Cain Regents Chair in Art, underscoring his scholarly contributions. While his advising activities are not explicitly listed, his leadership in directing the Center for the Study of Modernism highlights his role in fostering academic collaboration and research. His affiliation with UT Austin’s Department of Art History anchors his institutional involvement.

Kevin ChuaView profile

Associate Professor

• 18th-Century European Art
• 19th-Century European Art
• Southeast Asian Art
• +5 more

Kevin Chua is Associate Professor specializing in 18th-19th century European and Southeast Asian art at Texas Tech University's School of Art. He holds a PhD from UC Berkeley and has held fellowships at CASVA and UCLA's Center for 17th-18th Century Studies. His interdisciplinary research examines European and Southeast Asian modernism through formal analysis and historicity. Key interests include colonial/postcolonial visual cultures, global modernism, Marxist art theory, ecological aesthetics, and decolonial methodologies. His work connects artistic practices with political and environmental contexts. Publications demonstrate consistent engagement with Southeast Asian contemporary art, exhibition critique, archival practices, and environmental humanities. Recent trends show increased focus on ecological art, petroculture, and decolonial approaches to visual culture. Teaching includes courses on Black Atlantic art, French/English visual culture, and art historical methodology. He mentors graduate students in art history and global modernism.

• History of Performing Arts
• Theatre History
• Dance History
• +3 more

Elena Randi is a Full Professor of History of Performing Arts at the Department of the Arts, University of Bologna. Her primary research focuses on the history of theatre and dance between the late 18th and early 20th centuries, with current work centered on developing critical editions of dance scores. She actively participates in national and international research projects, publishing widely in both Italian and international journals. Her academic contributions span monographs and articles exploring topics such as Romantic ballet adaptations, modern dance pioneers like Hanya Holm, and interdisciplinary studies on performance practices. Recent work emphasizes methodological frameworks for dance documentation and historical score reconstruction. Randi teaches courses on theatre direction practices and historical performance analysis, integrating archival research with contemporary performance theory. Office hours are held every Monday 12:00–13:00 at Via Barberia 4, Bologna, by prior email appointment (elena.randi@unibo.it). She maintains an extensive bibliography covering over 40 years of scholarly output, with a particular emphasis on French and Italian theatrical heritage, including studies on Victor Hugo’s theatrical manuscripts and the Ballets Russes.

AHMET BURAK BASMACIOĞLUView profile

Professor

• Music Education
• Hermeneutics in Early Music
• Performance Practice
• +6 more

AHMET BURAK BASMACIOĞLU is a Professor at Anadolu University State Conservatory's Music Department since 2023. He has held academic positions at the same institution since 1992, including Associate Professor (2010-2023) and Lecturer (1992-2010). His work focuses on early music performance , keyboard pedagogy , and hermeneutics in historical performance . 1992: Hacettepe University undergraduate 1994-1996: Postgraduate at Anadolu University 1996-2003: Master's and PhD in Piano at Anadolu University 1998-2006: Specialization in Early Music at Strasbourg Conservatory His research areas include historically informed performance , baroque keyboard , and basso continuo . He has supervised 6 theses on topics like Bach adaptations and ornamentation systems. His recent publications analyze French Baroque ornaments (2022) and microtonal keyboards (2023), while his conference work explores hermeneutics in early music . As an active performer, he has led harpsichord and organ recitals since 1992, including collaborations with Istanbul Symphony Orchestra (2024) and Ankara Music Festival (2024). He also contributes to academic journals as Special Issue Editor for the International Journal of New Trends in Arts, Sports & Science Education (2022-2024).

Denton CrawfordView profile

Senior Lecturer

• Fine Arts
• Contemporary Art
• Installation Art
• +3 more

Denton Crawford serves as a Senior Lecturer at the School of Art within Rochester Institute of Technology's College of Art and Design, holding additional leadership roles as First-Year Experience Coordinator and Interim Graduate Program Director for Fine Arts Studio. Education: BFA, University of South Florida MFA, University of Georgia Crawford's artistic practice centers on contemporary fine arts with emphases in installation art, painting, drawing, and sculpture. His work explores the tension between ethereal concepts and material execution through mixed-media approaches incorporating acrylic, gouache, spray paint, and collage on diverse supports from shaped panels to immersive environments. Recurring themes investigate spatial perception, conceptual frameworks, and the interplay of organic and geometric forms within contemporary visual discourse. His 2013-2016 exhibition record reveals consistent engagement with installation art and mixed-media practices across national venues, demonstrating technical versatility and conceptual depth. Crawford's work appears in both gallery exhibitions and prominent art publications, reflecting recognition within contemporary visual arts circles for his contributions to painting, drawing, and spatial interventions. As an educator, Crawford teaches foundational drawing sequences (FDTN-111/112) and advanced studio courses including Expanded Forms (SCUL-511/611), guiding students through installation, performance, video, and digital art practices. He supervises undergraduate and graduate research through independent studies (STAR-599/799), internships (STAR-498/698), and thesis projects (STAR-790/890/892), while coordinating first-year experiences and graduate program development.