Find Academic Supervisors

Jean Oh is a Researcher at the Robotics Institute of Carnegie Mellon University (CMU) , leading the interdisciplinary Bot Intelligence Group (BIG) . Her work focuses on developing persistent robots that co-exist and collaborate with humans in shared environments, emphasizing continuous improvement through training, exploration, and human interaction. Education: Ph.D. in Language and Information Technologies, CMU M.S. in Computer Science, Columbia University B.S. in Biotechnology, Yonsei University Oh's research integrates vision, language, and planning systems in robotics, with applications in human-robot teaming , self-driving cars , disaster response , eldercare , and creative robotics . She has pioneered projects like socially-compliant robot navigation in human crowds and AI-driven robotic painting systems. Recent publication trends highlight her work in vision-language planning , social navigation , computational creativity , and human-robot collaboration . Notable contributions include the StyleCLIPDraw algorithm for text-to-art generation and Social-PatteRNN for human-like trajectory prediction. Scientific Awards: Best Paper Award in Cognitive Robotics (ICRA'18, ICRA'15) Best Systems Paper Finalist (HRI'25) Best Oral Paper Finalist (Humanoids'24) Best Paper in Entertainment (IROS'24) Argoverse Challenge Winner (CVPR'24) Best Student Paper (AIAA'24) Best Demo Finalist (RoboSoft'24) Oh mentors a diverse team of PhD, MS, and undergraduate students from CMU departments including Robotics, Computer Science, and Mechanical Engineering. Her research is funded by US Army Research Lab , DiDi Chuxing , and DARPA , with collaborations across industry and academia .

• Robotics
• Artificial Intelligence
• Human-Robot Interaction
• +5 more

Camilo Egas (1889–1962) was a pivotal Ecuadorian artist and academic who founded the first Art Department at the New School in New York City. He served as Director of the Art Workshops (1935) and later Director of the Art Department until his death in 1962. Egas taught courses in Modern Art, Painting, Oil, and Drawing, and co-taught Advanced Painting with Robert Gwathmey (1946–1951). He integrated European artistic techniques with indigenous Ecuadorian themes, pioneering Pictorial Indigenism and contributing to Latin American modernism. Education: Studied art in Quito, Rome, and Madrid. Key works include the mural Ecuadorian Festival (1932) for the New School and contributions to the 1939 New York World Fair. His art emphasized Andean themes, indigenous struggles, and national identity, blending Social Realism, Surrealism, and Abstract Expressionism over his career. Legacy: Founded Ecuador’s first art periodical Helice , co-founded the Indigenist Movement, and mentored artists like Berenice Abbott and Stuart Davis. His interdisciplinary approach merged anthropology, archaeology, and visual arts to redefine Latin American cultural narratives.

• Indigenism
• Andean Studies
• Art History
• +6 more

Dr. Silvia VESCO is an Associate Professor in the Department of Asian and North African Studies at Ca' Foscari University of Venice, where she specializes in Japanese art history, particularly Edo-period visual culture, ukiyo-e prints, illustrated books, and the works of Katsushika Hokusai. She is actively involved in research, teaching, and cultural curation, with a strong focus on Italian collections of Japanese art and cross-cultural artistic dialogues between Japan and the West. Education: PhD in History of Indian and East Asian Art, Ca' Foscari University of Venice (1999) Master in Art & Archaeology, SOAS, University of London (1995) Degree in Oriental Languages and Literatures, University of Venice (1993, with honors) Her research interests encompass Japanese aesthetics, museum studies, and the global reception of Japanese art. She has led major digitization projects for the Museum of Oriental Art in Venice and contributed to the development of its new museological framework. Her scholarly work reveals a consistent focus on Hokusai, Edo-period print culture, and the philosophical dimensions of Japanese visual forms. The recent publications highlight a deep engagement with Hokusai’s pedagogical works, the aesthetics of emptiness, and contemporary reflections on nature in post-Fukushima Japan. Her interdisciplinary approach bridges art history, cultural studies, and museum practice. Scientific Recognition: Finalist, Premio Nazionale per la divulgazione scientifica 'Giancarlo Dosi' (2020) Japan Foundation Fellowship (1997) Postgraduate scholarship from the University of Venice (1994) She has supervised numerous MA theses, served on PhD committees, and mentored students in Japanese art history. Her research has been supported by grants from the Japan Foundation and institutional collaborations with museums and cultural centers. She is a referee for VQR, Edizioni Ca' Foscari, and international journals, and serves on the scientific committees of several academic and museum publications. Labs and Teams: Scientific Committee, Museum of Oriental Art, Ca' Pesaro, Venice Scientific Committee, Edizioni Ca' Foscari Coordinator, Scientific Committee for Ca' Foscari Japanese Studies, Arts and Literature Member of the editorial board of 'Venezia Arti' and 'Quaderni del Polo museale del Veneto'

• Japanese Art History
• Edo Period Art
• Ukiyo-e Prints
• +7 more

Dr. Edyta Chlebowska is an Assistant Professor at the Cyprian Norwid Research Center, John Paul II Catholic University of Lublin. Specializing in the visual art and literary legacy of Cyprian Norwid, she explores intersections between Polish Romanticism, art history, and cultural studies. Her work extends to album art analysis and interdisciplinary connections with music (e.g., Pink Floyd, Czesław Niemen). Her research focuses on Norwid's self-portraits, eschatological themes in his drawings, and comparative studies with 19th-century Warsaw painting. She reconstructs lost artworks, documents private collections (e.g., Konstancja Górska, Victor Gomulicki), and examines Norwid's reception in Florence and Odessa. Key projects include translating Studia Norwidiana and critical editing of Norwid's complete works. As editor-in-chief of multiple On Cyprian Norwid. Studies and Essays volumes and organizer of conferences like Niemen Non Stop and Colloquia Norwidiana , she bridges academic rigor with public engagement. Her publications span peer-reviewed books, journal articles, and popular science pieces, emphasizing Norwid's unpublished works and symbolic programs.

• Cyprian Norwid's Visual Art
• Polish Romanticism
• Art History
• +3 more

Mark Angus is a Visiting Lecturer at the Estonian Academy of Arts, Faculty of Design, and has been a pivotal figure in stained glass art since the 1970s. His work spans architectural commissions for churches and public spaces in the UK, Germany, and Ireland, alongside autonomous art in painting, printmaking, and artist’s books. He operates studios in Frauenau (Germany) and Graz (Austria). Education : Bristol Polytechnic (Chartered Surveyor, 1970), Swansea School of Art (Architectural Stained Glass, 1978). Research Interests focus on: Stained Glass as a medium for spiritual and secular narratives. Vitreography (glass-based printmaking) and its interplay with light and subtlety. Artist’s Books integrating letterpress and visual storytelling. Human Figure Representation in glass and paper, emphasizing dialogue and existential themes. Recent Publications include his 2018 artist’s book 80 Capriccios and the Turbulences of the Self , drawing on Goya’s Los Caprichos to critique modernity, and 2025’s KUNST. Kunst im Landkreis Passau, Bd. 70 , documenting regional art practices. His RED (2014) and Juvenescence (2014) explore color symbolism and eternal youth through acrylics and illustrated novels. Scientific & Artistic Awards : 1990: South West Arts & Crafts Fellowship 1984: South West Arts Major Craft Award 1979: Crafts Council Setting-up Grant 1978: Worshipful Company of Glaziers Travelling Scholarship Teaching & Collaborations : He has taught at the Estonian Academy of Arts, Penland School of Crafts (USA), and Bild-Werk Frauenau (Germany), including 2025’s masterclass Risk & Resonance – The Stained Glass Experience . His exhibitions, such as 80 Capriccios (2024, Neuburg am Inn), reflect interdisciplinary dialogues between glass, poetry, and theological themes.

• Stained Glass Art
• Architectural Design
• Glass Painting
• +7 more

Costanza Beltrami is a Senior Lecturer at Stockholm University in the Department of Culture and Aesthetics. She is a dedicated art historian with a focus on Gothic art and architecture of the late fifteenth and early sixteenth centuries, particularly in the Spanish region of Castile and its international connections. Her research interests include architectural drawings, collaboration, transculturation, and temporality in architecture. Dr. Beltrami teaches courses on Medieval and Renaissance art and architecture from Cordoba to Florence. Her academic background includes studying Art History at the Courtauld Institute of Art in London and working at the University of Oxford/St Catherine's College before joining Stockholm University. Her research has focused on late-Gothic architecture, including a monumental drawing of a tower from Rouen cathedral and ornament prints as artists' models. She is Reviews Editor for the Journal of the British Archaeological Association and has completed her PhD thesis on Juan Guas (active 1453–1496), the leading architect of late fifteenth-century Spain. She is currently working on a book project about collaboration, artistic identity, and the geographies of exchange in late-Gothic Castile. Her co-edited volume "Art, Travel and Exchange between Iberia and Global Geographies, 11400–1550" challenges traditional narratives about Iberian art history and emphasizes multi-directional cultural exchange. Dr. Beltrami's recent research includes editing a special issue on portable drawings and paper in Medieval and Gothic architecture. Her work explores how architectural practices in Castile demonstrate fascinating questions regarding migrant networks, cultural contact, the meanings of architecture, and the role of art in debates on national identity from the 15th century to the present.

• Gothic Art
• Gothic Architecture
• Late Medieval Architecture
• +7 more

Leslie Robison serves as Professor of Visual Arts and Dean of the School of Creative Arts & Letters at Flagler College in St. Augustine, Florida, teaching courses spanning foundational techniques to community-based practices including Drawing I, Painting I, Contemporary Drawing Practices, and the Prison Mural Practicum. Education MFA, University of Florida BFA, Washington State University Research Focus Robison's creative scholarship centers on Painting and Drawing within contemporary studio art, with emphasis on socially engaged practices that address incarceration, homelessness, and community empowerment through mediums including video and craft. Their work manifests in collaborative projects like the Sheltering Sky Project with homeless populations and Cellmates at youth correctional facilities. Exhibitions & Community Impact Recent solo exhibitions include What a Man, What a Man (Jacksonville University) and A Soft Insurrection (Dayton Society of Artists), while community initiatives feature the Prison Mural Practicum and R.B. Hayling Freedom Park's Let Freedom Ring Chimes Project. Group exhibitions span international venues including Nasty Women Art Prize showcases in Lisbon and Amsterdam.

• Painting
• Drawing
• Socially Engaged Art
• +3 more

Laura M Denzer is an Adjunct Assistant Professor in the Drawing, Painting Department of the School of Art + Art History at the University of Florida. She holds a BFA from the School of the Art Institute of Chicago (2011) and an MFA from the University of Florida (2017). Her practice focuses on spatial and corporeal investigations through collage, painting, and mixed media, exploring themes of memory, identity, and transformation. Denzer’s research examines how physical and abstract spaces shape personal and collective narratives. Her work often incorporates fragmented forms, architectural references, and domestic patterns to reflect on liminal states and life transitions. Recent projects address motherhood and pandemic experiences as catalysts for reimagining selfhood and temporal continuity. Her artistic output includes over 100 works across decades, with notable series from 2023-2024 featuring screenprints that blend color theory and narrative imagery. Earlier works like Arms Folded (2016) and Party Favors (2011) demonstrate her evolving engagement with material experimentation and conceptual layering. Denzer’s practice also extends to curatorial roles, including her guest editorship of Number Magazine #96: Dependency . Her creative process integrates found materials, intuitive color choices, and formal investigations to create compositions that balance rootedness and transience. Current work explores spatial fragmentation as a metaphor for life transitions, reflecting on both personal and societal upheavals.

• Visual Arts
• Contemporary Art
• Mixed Media
• +4 more

Gabriel P. Weisberg is a distinguished Professor of Art History at the University of Minnesota, specializing in 19th and Early 20th Century European Art with particular expertise in graphic art, design history, and visual culture from 1780-1920. His career spans over forty years, during which he has curated major international exhibitions, published extensively, and mentored numerous PhD students who have gone on to academic positions. Professor Weisberg's research focuses primarily on Art Nouveau, Japonisme (Japanese influence on Western art), Naturalist painting, and the intersection of photography and painting. His scholarly work has significantly contributed to the reappraisal of late 19th century art historical issues, particularly through his examination of artists like Jules Adler, Albert Besnard, and Art Nouveau figures. His recent work includes major exhibitions such as 'Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918' and 'The Orient Expressed: Japanese Influence on Western Art, 1854-1918.' His publications reveal consistent engagement with Japonisme, Art Nouveau, and Naturalist painting across decades. The trend shows deepening specialization in Japanese influence on Western art, with numerous publications on Japonisme from 2014-2021, including serving as managing editor of the Journal of Japonisme. His work bridges art historical scholarship with museum practice through major exhibition catalogues. Member of the Institute for Advanced Study (Princeton) Guggenheim Foundation Fellowship Senior Fellowship at CASVA (National Gallery of Art) Regents Professor, National Museum of American Art Van Gogh Museum and University of Amsterdam Visiting Fellow (2010) Professor Weisberg has mentored numerous PhD students who have contributed to exhibition catalogues and scholarly publications. His research has been supported by major institutions including the Van Gogh Museum, Smithsonian Institution, and National Gallery of Art. He has organized international symposia and study programs, including a notable two-week course in Dutch museums for University of Minnesota students. As Reviews Editor for Nineteenth Century Art Worldwide and co-founder of the Journal of Japonisme, he continues to shape scholarly discourse in his fields of expertise.

• 19th Century European Art
• Early 20th Century European Art
• Graphic Art History
• +9 more

Alison Wright is Professor of Italian Art at University College London's Department of History of Art, specializing in Italian art from c. 1300-1550. She teaches across all undergraduate and postgraduate levels and welcomes doctoral supervision for thematically-conceived projects not restricted to painting. Her academic journey at UCL spans from Lecturer (1993), to Reader (through 2016), and Professor (since 2016), with additional leadership roles including Head of Department (2016-2019) and Chair of the Exams Board. Her educational background includes a PhD from the University of London (1992) and a BA (Hons) from the Courtauld Institute of Art (1987). She maintains high proficiency in Italian, French, and German, supporting her comparative cross-European research approach. Wright's research centers on the material effects and interrelation of art, ideology and ritual in European art from the 14th to 16th centuries, with particular focus on Italy. Her work examines artistic practice, materials and materiality, with recent research investigating gold's activation in European port cities across late Medieval England, North Italy and Southern Spain. She explores how art functioned in relation to broader social, political and religious interests, particularly examining commission and reception of artworks. Her publication record demonstrates consistent engagement with Italian Renaissance material culture, spanning topics from frame ornamentation to sculptural practices. Her work shows particular interest in how materials convey meaning, with recurring themes of religious context, workshop practices, and the political dimensions of artistic production. Recent publications continue this trajectory with focus on Fra Angelico's use of light, Donatello's sculptural encounters, and the transformational properties of gold. Wright's teaching spans undergraduate and postgraduate levels with courses covering Italian Renaissance portraiture, private and public sculpture, the history of the category 'Art', and specialized seminars on Place, Space and the Imagination in the Italian City (c. 1300-1520) and Seeing through Materials in the Renaissance. She has held various administrative roles including Impact Lead (2024), Research Fellow with the Leverhulme Trust (2023-2024), and Head of Department (2016-2019).

• Italian Renaissance Art
• Medieval Art
• Material Culture
• +7 more

Hilary Nelson is an Assistant Professor in the Department of Fine Art at Maharishi International University (MIU), where she teaches courses such as Art of the Self, Color Theory, Sculpture I, and graduate-level seminars. She has also served as an Adjunct Instructor at MIU and Santa Fe Community College, and as a Visiting Lecturer at Grinnell College. Her academic journey includes an MFA and MA in Painting from the University of Iowa and a BFA in Painting and BS in Environmental Science from MIU. University of Iowa, MFA Painting, 2017 University of Iowa, MA Painting, 2016 Maharishi International University, BFA Painting, 2013 Maharishi International University, BS Environmental Science, 2007 Hilary Nelson's research and creative practice focus on the intersection of art, sustainability, and regenerative design. Her fields of interest include painting, drawing, sculpture, and curatorial practice, with a strong emphasis on environmental consciousness. She has developed and taught courses like 'Regenerative Art: Sustainability in Practice and Concept,' reflecting her commitment to ecological themes in art education. The 15 most recent articles highlight her active exhibition history, spanning solo and group shows across the U.S. and internationally. These works reflect trends in contemporary visual art, including installation, public art, conceptual practice, and interdisciplinary exploration. Her exhibitions often engage with themes of space, materiality, perception, and social critique, demonstrating a consistent evolution in her artistic voice. Scientific and Artistic Awards: Mildred Pelzer Lynch Fellowship, University of Iowa (2015–2017) Graduate Teaching Assistant Scholarship, University of Iowa (2014–2016) Faculty Research and Teaching Grants, Wege Foundation (2022, 2024) Artist Residencies at Yaddo, Vermont Studio Center, and international locations (2019–2024) Arts and Environmental Sciences Honors Awards from MIU (2007, 2013) Hilary Nelson has been actively involved in academic advising, curriculum development, and grant-funded research. She has led projects supported by the Wege Foundation, focusing on regenerative art and sustainability. Her teaching spans foundational to advanced levels, and she has mentored students through studio courses and graduate seminars. She has also curated exhibitions and organized artist talks, contributing to the broader academic and artistic community. She is co-founder of the Nelson Project, a collaborative art initiative with Trilby Nelson, and previously co-founded The Beauty Shop in Fairfield, IA—a non-profit gallery and music venue. She has also served as Gallery Curator at The Times Club in Iowa City and co-directed Unity Gallery at MIU, demonstrating strong leadership in curatorial and collaborative art environments.

• Painting
• Drawing
• Sculpture
• +6 more

Zsigmond Lucza (born 1978 in Budapest) is a Hungarian contemporary artist and university assistant professor at the Hungarian University of Fine Arts, Department of Visual Art since 2022. He holds a DLA (Doctor of Liberal Arts) degree from the University of Pécs Faculty of Arts (2011-2014) and has extensive international experience including studies at the University of Lapland in Finland (2012-2013). Lucza's educational background includes dual Master's degrees from the Hungarian University of Fine Arts (2002-2007) in both Painting and Visual Art Teacher programs, along with foundational training at the Buda Drawing School (2000-2002). His academic career includes teaching positions at Jelky András Applied Arts Vocational High School (2014-2018), Modell Fashion School (2008-2012), and Kolumbusz Humanities High School (2005-2007). Lucza's artistic practice spans contemporary painting, transmedia art, and mixed media works, with significant focus on digital integration in traditional art forms. His research interests center on transmedia tendencies in contemporary Hungarian painting, visual communication, and the evolving relationship between digital and physical art spaces. His work often explores identity, perception, and the integration of technology in artistic expression, creating pieces that bridge traditional painting techniques with contemporary digital aesthetics. His artistic output shows a consistent evolution from figurative works toward more experimental transmedia approaches, with recent projects focusing on environmental reflection, digital portraiture, and collaborative installations. Lucza's work demonstrates a sophisticated understanding of both traditional painting techniques and contemporary digital media, creating a distinctive visual language that addresses current artistic concerns while maintaining strong technical foundations. Lucza has received multiple awards including an Erasmus scholarship for study at the University of Lapland, a scholarship from the Budapest Gallery and Kunststiftung Baden-Württemberg, and first prizes in national competitions. His professional affiliations include membership in the Hungarian Artists' Association (MAOE) since 2007, the MAMŰ Society since 2015, and non-academic membership in the Hungarian Academy of Arts (MMA) since 2022. As an educator, Lucza has conducted numerous workshops internationally including the Experimental Drawing Course at the Latvian Academy of Arts and Transmedia Workshops at the University of Pécs. His curatorial work includes the 'Medium Summoners' exhibition at MAMŰ Gallery in Budapest (2017). Lucza maintains an active exhibition schedule with solo shows across Hungary, Finland, and Slovenia, alongside participation in numerous international artist colonies and collaborative projects.

• Contemporary Painting
• Transmedia Art
• Visual Communication
• +3 more

Diana Strazdes is an Associate Professor in the Program in Art History at the University of California, Davis, where she has been a faculty member since 1997. Her academic work focuses on American art and material culture of the long 19th century, with additional expertise in museum studies and transatlantic artistic developments. She is based in Room 162, Everson Hall, and can be reached at dstrazdes@ucdavis.edu. Education: Ph.D., Yale University M.Phil., Yale University M.A., Yale University B.A., Vassar College Her research interests span American painting, sculpture, architecture, and domestic life, with a particular focus on professional identity, public art reception, and the cultural meanings of space. She has published widely on topics ranging from the Hudson River School to the domestic ideology of Catharine Beecher, from museum evolution to the display of ruins. Her work often bridges art history, cultural studies, and material culture analysis. The recent publications in her list reflect a sustained engagement with 19th-century American art, evolving into broader themes of cultural memory, museum display, and transatlantic influences. Her articles frequently appear in leading journals such as Winterthur Portfolio , Master Drawings , and Change over Time , demonstrating her interdisciplinary reach across art history, conservation, and museum theory. She has no listed scientific awards in the provided text. Diana Strazdes teaches a wide range of courses, from introductory surveys like Baroque to Modern Art to advanced seminars on realism, professional identity, and landscape painting. She also leads a seminar on research and writing methods, indicating her commitment to mentoring emerging scholars. While no specific grants or advisees are listed, her extensive publication record and long tenure suggest a robust research program and likely advising activity. She is actively involved in the academic life of the Art History program, contributing to the intellectual development of students through both teaching and research. Her work with museum collections and public art suggests engagement with curatorial teams and cultural institutions, though no formal lab or research team is specified.

• American Art
• 19th-Century Art
• Material Culture
• +12 more

Carolyn Yerkes is an Associate Professor of Art and Archaeology at Princeton University. She is Chair of the Committee for Renaissance and Early Modern Studies, a Faculty Fellow at Rockefeller College, and affiliated with the Programs in Hellenic Studies, European Cultural Studies, and Media + Modernity. Her work bridges architectural history, printmaking, and material culture. Education : Ph.D., Columbia University (2012); M.Arch., Princeton University (2005) Yerkes specializes in Early Modern Architecture and Art, focusing on the interplay between the built world and techniques of representation such as drawings, prints, paintings, books, models, and texts. She explores how architectural knowledge was transmitted through copied images and experimental printmaking technologies. Her publications include books on Renaissance architectural drawings and Piranesi’s printmaking, alongside essays on monumentality, siege warfare, and artistic techniques. Recent projects include Siegelands , analyzing siege warfare as ecological and social transformation, and Direct Impressions , examining experimental printmaking technologies from the 16th century onward. Scientific recognition includes the James Ackerman Prize in the History of Architecture and a Charles Rufus Morey Book Award finalist honor. She co-curated the Piranesi on the Page exhibition at Princeton’s Firestone Library in 2021. Yerkes advises graduate students in Early Modern Art and Architecture and collaborates across disciplines, co-teaching courses with colleagues in Chemical and Biological Engineering, History, and other departments. She also investigates topics like staircases, echo chambers, and subterranean construction, emphasizing interdisciplinary approaches.

• Early Modern Architecture
• Early Modern Art
• Architectural Representation Techniques
• +9 more

Dr. Shatarupa Thakurta Roy is an Associate Professor in the Department of Humanities and Social Sciences at the Indian Institute of Technology Kanpur (IIT Kanpur). She teaches courses in Art Appreciation, Design Theory, Visual Communication, and History of Art, and collaborates with IIT Kanpur's Design Programme. She holds a Ph.D. in Design from IIT Guwahati (2014), an M.F.A. (1999), and a B.F.A. (1997) from Kala Bhavana, Visva Bharati Santiniketan. Her research explores Visual Culture , Indian Folk and Minor Art , Graphic Design , and Design Theory , with fieldwork focusing on narrative folk paintings across Eastern India. She emphasizes cultural sustainability, visual storytelling, and interdisciplinary design methodologies. Her publications (2011–2022) span art theory, data visualization, HCI, and cultural preservation, reflecting trends in cross-disciplinary innovation , social impact design , and digital heritage conservation . She frequently integrates cognitive psychology, new materialism, and postcolonial perspectives. Awards & Honors: Best Paper Award, NaCoMM 2011 National Scholarship Scheme, Government of India (1997–1998) Mentorship Award for 'Toycathon 2021' (designing educational board game 'CheMystery') Advising & Grants: She has supervised 15+ Ph.D. and 35+ M.Des. theses. Funded projects include an MHRD grant (2016) for assistive interfaces for dyslexic children and a Doordarshan collaboration (2022) on sustainable farming documentaries. Administration: She has served as Warden, DPGC Convener, and lab in-charge at IIT Kanpur. She also edits academic journals and chairs conferences on art and design.

• Visual Culture
• Indian Folk and Minor Art
• Graphic Design
• +9 more