Dr Deborah C Lewer is a Senior Lecturer in History of Art at the University of Glasgow, specializing in modern German art and its intersection with religious faith. She has held prior academic positions at University College London, Christie’s Education, Manchester University, and Manchester Metropolitan University, with visiting appointments at Northwestern University (2007) and the University of Bonn (2009-10). A distinguished Alexander von Humboldt Foundation Fellow, her research focuses on Zurich Dada, German Expressionism, Weimar Republic culture, and post-WWII German art. She contributed to major exhibitions as a writer and advisor, including Tate Modern and National Gallery of Scotland. Modern German art Art and religious faith interface Weimar Republic visual culture Contemporary theological art discourse Avant-garde interdisciplinary studies Her recent publications explore ritual theory, spirituality in postmodern art, and theological interpretations of canonical works. She co-edits the Art History journal and contributes to public engagement through museum audioguides, broadcasts, and retreats on art-faith integration. Supervision includes PhD topics ranging from Cold War art to trauma representation in contemporary practice. Selected scientific accolades include: Alexander von Humboldt Fellowship Editorial Board, Art History journal Professional memberships: Association of Art Historians, European Avantgarde Network Grant funding (2009-2010) supported research at the University of Bonn. Teaching spans 16th-century art to contemporary practice, including a cross-School course on Interwar Cultures and the Art: Politics: Transgression core curriculum.
Dr. Peter Maber is Head of Faculty and Associate Professor in English at Northeastern University London, where he also serves as Lead on Academic Engagement. He holds a PhD (2005), MPhil in American Literature (2001), and BA/MA in English (2000) from the University of Cambridge. Previously, he taught English and American Literature at Cambridge. His research spans three primary domains: twentieth-century American poets (Delmore Schwartz, Robert Lowell, John Berryman, Sylvia Plath); interdisciplinary poet-painter relationships from early modernism to contemporary practice; and a co-edited volume on Cambridge poet Frances Cornford. Additional scholarly contributions include art criticism for The Times Literary Supplement and entries for the Stanford Global Shakespeare Encyclopedia. Publications reflect deep engagement with literary-artistic intersections, particularly Shakespearean reception, Berryman studies, and St Ives modernists. Recurring themes include verbal-visual communication, confessional poetry, and transatlantic modernism. Current pedagogical development includes founding Academic Writing instruction and creating courses like 'British Drama and the London Stage' and 'Cultures of London'.
Andres Wanner is a Swiss-Canadian artist, interaction designer, and educator with an interdisciplinary background spanning physics, visual arts, and design. He holds roles as Lecturer at Lucerne School of Design, Film and Art (HSLU), Switzerland, and Adjunct Professor at Simon Fraser University, Canada. He leads the Bachelor's Program in Digital Ideation at HSLU and teaches in the BA Visual Communication program. His academic work bridges art, design, and technology, focusing on human-computer interaction, generative art, and start-up incubation strategies. Wanner has exhibited internationally in venues like SIGGRAPH and IDEAS, and his research addresses topics such as glitch aesthetics in mechanical systems, data-driven generative art, and the role of design in high-tech entrepreneurship. Education: MSc Physics, University of Basel (1996) MAA Visual Arts, Emily Carr University Vancouver (2013) BA Visual Communications, HGK Basel (2001) Research Interests: Wanner explores the intersection of art and technology through installations like Machinic Trajectories (mechanical drawing machines) and Breathe/Live/Speak (oceanic data visualization). His work critiques technological failures (glitches) and investigates how analog and digital systems can inform artistic expression. He also studies design's role in start-up innovation, co-authoring DesignSeed to highlight collaboration between engineers and designers in entrepreneurial contexts. Grants & Projects: IDN Project: Health-Promoting Teamwork and Virtues Cocreation Toolbox for Interdisciplinarity Neuro-App: Neurofeedback System for ADHD Therapy Design in Incubation & Early-Stage Startups Labs/Teams: Wanner collaborates with the Innovation and Entrepreneurship Lab at ETH Zurich and the Design & Kunst department at HSLU. His work often involves cross-disciplinary teams blending art, engineering, and computer science.
Dr. Anne Grasselli is an Associate Lecturer at The Courtauld Institute of Art, specializing in modern art history with a focus on Wassily Kandinsky and visual perception studies. She completed her PhD at the University of Edinburgh in 2024, examining intersections between Kandinsky's early work and experimental psychology. Education includes: PhD in History of Art, University of Edinburgh (2024) MA in History of Art, The Courtauld Institute of Art (2015) BA in Art History, University of Mary Washington (2013) Her research explores how psychological principles of visual perception influenced early 20th-century abstraction. She co-convenes the Research Forum for German Visual Culture and has held research positions at institutions including the National Gallery of Art and Morgan Library. Publications primarily analyze Kandinsky's engagement with perceptual science across journals and exhibition catalogs, consistently examining modernist responses to psychological theories. Awards include: DAAD Fellowship at Zentralinstitut für Kunstgeschichte München Leverhulme Study Abroad Studentship Association for Art History research grant Teaches undergraduate courses on European modernism and has guest lectured internationally on visual perception in art.
David Paul Mesler is a composer, pianist, vocalist, and educator affiliated with Seattle Central College and North Seattle College, where he teaches music-related courses. He holds a Bachelor of Music in Composition and Piano Performance from the University of Southern California (Magna Cum Laude), and a Graduate Certificate in Scoring for Motion Pictures and Television from USC (Magna Cum Laude). His creative work spans film scores, poetry, and visual art, showcased on platforms like SoundCloud and YouTube. Mesler has received numerous awards, including an Emmy nomination and scholarships from USC and the Pemco Foundation. Education: University of Southern California Affiliations: Seattle Central College, North Seattle College His research interests include American poetry-inspired compositions, experimental film music, and interdisciplinary art. Despite no listed academic publications, his creative works reflect explorations in abstract expressionism and multimedia storytelling. Awards highlight his contributions to music education and composition.
Michael Ambron is an Adjunct Professor at The Cooper Union’s Albert Nerken School of Engineering, though his primary practice lies in contemporary art and paint-making. His work explores perception, altered states of consciousness, and material experimentation. Ambron holds a BFA from Tyler School of Art (2007) and an MFA from The Ohio State University (2012), where he received a Dedalus Foundation Fellowship. He has exhibited widely, including a 2024 solo exhibition No Time at Ortega y Gasset Projects, reviewed by prominent art critics. His research integrates hallucinatory experiences, sleep studies, and material science, using pigments, glass, stone chalk, and unconventional substrates. Ambron also runs Paint Makers Notes LLC , offering custom paints and workshops. Awards include the 2022 Dedalus Foundation Project Grant and the Fergus Memorial Scholarship. His art investigates the interplay between physical materials and intangible perceptual states, blending technical precision with visionary expression. Key themes include the ritualistic cultivation of altered consciousness through painting, the relationship between material agency and form, and the documentation of dream narratives. Recent works like Rain (2023) and Dilation (2023) exemplify his layered, texture-driven approach, while installations like Boundaries (2022) explore spatial and material tensions. Ambron’s practice bridges studio art, material innovation, and academic engagement, reflecting a commitment to both technical mastery and conceptual depth.
Christopher Kang is a Professor at The College of Wooster, holding the Flo Kurtz Gault Endowed Chair of English. He earned his B.A. from Cornell University, M.F.A. degrees in Fiction and Poetry from University of Wisconsin-Madison and Iowa Writers’ Workshop, and M.A./Ph.D. in English from University of California, Irvine. Education: B.A., M.F.A., M.A., Ph.D. Institution: The College of Wooster Kang's research and creative work spans British Romanticism , Ecocriticism , and Image-Text Studies , with a focus on Genre Hybridity . His writing combines Fiction , Poetry , Creative Nonfiction , and Literary Theory , characterized by Linguistic Innovation and Existential Ambiguity . His publications include the 2017 book When He Sprang From His Bed, Staggered Backward, And Fell Dead, We Clung Together With Faint Hearts, And Mutely Questioned Each Other (winner of the 2016 GMR Book Prize) and numerous works in journals like LitHub , jubilat , and Gulf Coast . Recent articles demonstrate trends in Temporal Narrative , Intermediality , and Postmodern Aesthetics . Scientific Awards: 2016 GMR Book Prize Kang's work has been praised for its Philosophical Depth and Genre-Defying Creativity , with critics noting his ability to balance Emotional Complexity and Linguistic Precision .
Howard Singerman holds the Phyllis and Joseph Caroff Chair of Art and Art History at Hunter College. Previously, he served as Chair and Professor of Art History in the McIntire Department of Art at the University of Virginia. His career includes teaching at Barnard College, UCLA, and other institutions. He has curated major exhibitions, including Robert Motherwell and the New York School at Hunter (2015) and Acts of Art and Rebuttal in 1971 (2018), while authoring influential books such as Art Subjects: Making Artists in the American University (1999) and Sharon Lockhart: Pine Flat (2019). Singerman’s research focuses on 20th-century American art, exhibition practices, and the intersections between art and cultural critique. He has published widely in journals like October , RES: Anthropology and Aesthetics , and Emergences . His recent work examines Black artists in New York’s 1969–1975 art scenes, supported by his 2020 Paul Mellon Fellowship at the National Gallery of Art. His scholarly contributions bridge curatorial practice and academic writing, emphasizing institutional critique and the socio-political dimensions of art. Current projects include a forthcoming book analyzing underrepresented art spaces in 1970s New York.
Brian Fencl is a Professor of Art and Director of the Nutting Gallery at West Liberty University. He holds an MFA in Drawing from the New York Academy of Art (2000) and a BFA in Illustration from Art Center College of Design (1990). His work spans over three decades of exhibitions across the US and Italy, focusing on contemporary visual arts, drawing, and interdisciplinary practices. Research interests include traditional and experimental approaches to drawing, art education methodologies, and the intersection of art with social commentary. He has organized major events like the Paint Oglebay Park plein air festival and led residencies including the NYAA x Voice NFT residency (2022) and Cuttyhunk Artist Residency (2019). Exhibitions reflect diverse themes from kitsch critique to regional cultural identity, with recent works displayed at the David L. Dickerson Fine Arts Gallery and Beckley Art Center. His teaching spans drawing, art history, and digital media, including roles as AP Studio Art Portfolio Reader since 2017. Awarded West Liberty’s Faculty Excellence in Teaching (2022) Recipient of Best of WV Juror’s Award (2022) and multiple Professor of the Year titles Directed the Nutting Gallery since 2020 and led the Visual Art Department until 2020 Organized the annual Extreme Art Night since 2002 and served on the Faculty Senate (2004–2018). Maintains active ties with regional institutions like the West Virginia Governor’s School for the Arts and the Carnegie Museum of Art.
Claudia Grego March is a Researcher in the Department of History of Art & Architecture at the University of California, Santa Barbara. Her work bridges 20th century European and Latin American art , focusing on political and artistic networks between Spain and Latin America during the Francoist dictatorship (1960-1975). She examines cultural geopolitics , activisms , and popular culture in postwar art. Education: B.A. in Literary Studies (University of Barcelona), M1 in Theory of Literature (Ecole Normale Supérieure, Paris), and Master’s in Art History (Université Paris 1 Panthéon-Sorbonne, 2017). Research Themes include political art , cultural resistance , and transatlantic dialogues in modern art. Her recent publications explore Antoni Tàpies’s Catalan identity , Antonio Saura’s symbolic monsters , and Informalism’s transcontinental influence . Scientific Awards La Caixa Postgraduate Fellowships Abroad (2023) Graduate Humanities Research Fellowship (UCSB, 2022) Albert & Elaine Borchard European Studies Fellowship (2021) Humanities & Social Sciences Research Grant (UCSB, 2021) Margaret Mallory Fellowship (UCSB, 2017) Institute for Studies on Latin American Art Scholar in Residence (2022) Advisory & Collaborative Networks: Advised by Laurie Monahan , with committee members from UCSB and UCSD in Germanic and Slavic Studies , Film and Media Studies , and History . She collaborates with institutions like ISLAA and Université Paris 1 Panthéon-Sorbonne.
Magnolia Laurie serves as Associate Professor of Art and Department Chair of Visual Arts at Franklin & Marshall College in Lancaster, Pennsylvania. Originally from Massachusetts but raised in Puerto Rico, Laurie maintains an active studio practice in Baltimore, Maryland while teaching at F&M. Her academic career spans over a decade with progression from Assistant to Associate Professor, reflecting her significant contributions to the field of visual arts education. Laurie received her MFA from the Mount Royal School of Art at the Maryland Institute College of Art (2007) and her BA in Critical Social Thought from Mount Holyoke College (1998). Her educational background in critical social theory deeply informs her artistic practice which explores the complex visual vocabulary of contemporary landscapes. Laurie's artistic research centers on the conflicting visual language of the landscapes we inhabit, examining landmarks of protection, destruction, progress, and waste. Her work investigates borders, fences, and framing devices as motifs that note division, proximity, and distance in our socially and politically divided environment. Through oil painting and drawing, she processes environmental and cultural rifts while exploring vantage points and shifting perspectives that unfold over time. Recent series like 'REWILDING' and 'In the Weeds' demonstrate her continued exploration of humanity's relationship with the natural world. Her extensive exhibition record shows a clear trajectory toward increasingly sophisticated explorations of environmental themes and political commentary. The most recent works demonstrate a maturation of her visual language while maintaining her core interest in how humans mark and utilize land. Her paintings range from emotional saturation to restrained precision, reflecting the complex realities of contemporary environmental and social landscapes. Bethesda Painting Award, 3rd Place (2022) Howard Foundation Fellowship Finalist (2019) Nominee, Joan Mitchell Painters and Sculptors Grant (2018) Individual Artist Grant, Maryland State Arts Council (2016) Sondheim Artscape Prize Finalist Award (2015) The Belle Foundation for Cultural Development (2015) Mid Atlantic Arts Foundation Creative Fellow (2015) Laurie has received significant grant support from the Maryland State Arts Council, the Belle Foundation, and the Mid Atlantic Arts Foundation. Her work has been featured in numerous solo exhibitions at prominent venues including Frosch & Portmann in New York, the Phillips Museum of Art, Hamiltonian Gallery in DC, and the Baltimore Museum of Art. She has participated in prestigious artist residencies across the United States including at the Virginia Center for the Creative Arts, Vermont Studio Center, and the Jentel Foundation in Wyoming, which have significantly contributed to her artistic development and output. Her teaching portfolio includes courses in drawing, field studies, and space & place, reflecting her commitment to experiential learning and environmental engagement. Laurie maintains an active studio practice with recent exhibitions including 'in the thick of it' at Frosch & Co. (2024) and 'Balancing Acts' at The Peale Museum (2024). She is represented by Frosch & Co. in New York and continues to develop new bodies of work that respond to contemporary environmental and political landscapes. Her ongoing participation in group exhibitions at institutions like the Baltimore Museum of Art demonstrates her continued relevance and contribution to contemporary art discourse.
Dr Edyta Urwanowicz is an **Assistant Professor** at the **Department of Visual Arts**, **Faculty of Architecture**, **Gdańsk University of Technology**. Her work focuses on contemporary art, painting, and exploring historical narratives through visual mediums. She holds a Ph.D. in Fine Arts from the Gdańsk Academy of Fine Arts (2019). Her research interests include women’s experiences during historical displacements, such as Siberian exile, and the intersection of art with cultural symbolism. She has curated multiple solo exhibitions, including *"Tylko ból jest mój"* (2023–2024), which examines female resilience and trauma, and *"Wzory Pamięci"* (2019), analyzing Eastern textile patterns as cultural expressions. Her exhibitions often blend oil painting, drawing, and spatial installations, with recent works addressing themes of memory, identity, and gender. Notable exhibitions include works shown at the Pionova Gallery in Gdańsk and the Biennale. Her academic contributions include teaching courses on contemporary art, painting techniques, and exhibition design. She actively participates in the Gdańsk art scene, focusing on interdisciplinary approaches to art and history.
Naomi Batts is a Tutor at Falmouth University, specializing in illustration pedagogy and creative practice. Her work bridges traditional mediums like acrylics and collage with explorations of intuition-driven artistic processes. Focus on Illustration Pedagogy and narrative innovation Active in professional engagement through symposiums and workshops Her recent artworks (2024-2025) emphasize organic forms, material hybridity, and the deconstruction of illustration ideologies. Current teaching areas include collaboration, mixed media processes, and narrative exploration for illustration students.
Professor Janusz Marciniak at the Magdalena Abakanowicz University of Arts in Poznań holds a distinguished position in contemporary Polish art education. Since 2011, he has headed the 12th Painting Studio , maintaining an active studio practice while mentoring emerging artists. His work spans abstract painting, Holocaust remembrance projects, and public art installations, including the 2024-2025 DESA Unicum exhibition Closer to Art: The Number of Brushstrokes . University: Magdalena Abakanowicz University of Arts in Poznań Studio: 12th Painting Studio Academic Rank: Professor of Fine Arts Prof. Marciniak's research explores the materiality of paint and the philosophy of artistic gesture . His abstract compositions investigate: Color interaction dynamics Non-mechanical brushwork techniques Artistic doubt as creative catalyst Memory art through Holocaust projects The exhibition's six acrylic works demonstrate his painting-as-meditation approach, with titles like "521,371 Brush Strokes" emphasizing process over product. Key themes include: Paint substance exploration Canvas space division Color-orchestration analogy Risk-taking in artistic practice
Abdullah Cem Ozal is an Associate Professor at Muğla Sıtkı Koçman University's Faculty of Education, Department of Fine Arts Education. With over two decades of academic service, he has established himself as a prominent figure in art education and contemporary art theory. His academic journey began at Dokuz Eylül University where he completed his undergraduate studies in Fine Arts Education, followed by a Master's degree in Art Education and a Doctorate in Painting. Dr. Ozal's research interests span Visual Arts Education, Postmodern Art, Informal Art movements, Art History, and the psychological dimensions of artistic expression. His scholarly work demonstrates a consistent focus on the intersection of art theory, education, and contemporary artistic practices. He has published extensively in both national and international journals, with particular emphasis on postmodern art interpretation and the challenges within Turkish art education systems. His publication record reveals a clear trajectory of scholarly development, beginning with historical studies of 20th century art conceptualization, moving through detailed examinations of Informal Art movements, and culminating in contemporary analyses of postmodern art's relationship to individual psychology and autonomy. His most recent work explores the philosophical dimensions of art's role in subject formation and autonomy, indicating an evolving scholarly focus toward more theoretical and philosophical aspects of art. Resim-İş Eğitimi Anabilim Dalı Başkanlığı (2011-2020) MSKU Fine Arts Education Department Special Talent Exam Committee (2010-2024) Member of Selection Committees for National Painting Competitions (2021-2025) Referee for Aegean Education Journal and MSKU Faculty of Education Journal As an active educator, Dr. Ozal has consistently contributed to academic governance and curriculum development within his department. His extensive participation in national and international art symposia demonstrates his commitment to advancing art education discourse. His teaching portfolio includes courses on Western Art History, Pattern Design, Child's Artistic Development, and Home Art Workshops, reflecting a comprehensive approach to art education that spans historical knowledge, technical skills, and developmental psychology.
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