Expanded Painting Professors and Supervisors | ApplySharif

جست‌وجوی استاد و پژوهشگر

استاد راهنما، استاد دانشگاه یا پژوهشگر مناسب برای مسیر پژوهشی‌تان را پیدا کنید و با او ارتباط بگیرید.

نمایش ۱-۱۵ از ۲۲۸ استاد راهنما

اطلاعات این پروفایل‌ها از صفحات عمومی دانشگاه‌ها جمع‌آوری شده و ممکن است به‌روز نباشد.

Ksana Blankمشاهده پروفایل

مدرس ارشد

Princeton UniversityUnited States

Ksana Blank is a Senior Lecturer at Princeton University’s Department of Slavic Languages and Literatures. She coordinates the Russian Language Program and directs the Princeton-in-Petersburg Program, fostering academic exchange and interdisciplinary research. With a PhD in Russian Literature (Columbia University, 1997) and a BA in French Philology (St. Petersburg State University, 1979), her academic career spans over two decades at Princeton, preceded by teaching roles at Hunter College and Middlebury College Russian Summer School. Education: PhD, Russian Literature, Columbia University (1997) BA, French Philology, St. Petersburg State University (1979) Her research centers on Russian literature, emphasizing stylistic analysis and interdisciplinary connections with music, visual arts, folklore, and religious philosophy. Notable works include studies on Dostoevsky’s dialectics, Gogol’s The Nose , and the interplay between Russian modernism and Western art movements. She has authored multiple books and articles, many translated into Russian, and has published in academic journals across Russia, Europe, and China. Recent publications explore Dostoevsky’s paradoxes, Gogol’s linguistic innovation, and the intersection of Russian literature with music (Shostakovich), art (Malevich), and philosophy. Her 2023 book Парадоксы классики expands traditional interpretations of classic works through interdisciplinary lenses, while her 2021 The Nose guide deciphers Gogol’s wordplay and its narrative function. Earlier works address Tolstoy’s spiritual crisis and Bakhtinian dialogism in Russian literary theory. While no scientific awards are listed, her contributions to pedagogy include advanced Russian language courses and graduate-level Tolstoy studies. She currently works on Leo Tolstoy’s The Prisoner of the Caucasus and teaches courses on Russian literature, spirituality, and translation.

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Yi Guمشاهده پروفایل

دانشیار

University of TorontoCanada

Yi Gu is an Associate Professor of modern and contemporary art and visual culture at the University of Toronto Scarborough (UTSC), with cross-appointments in the Department of Arts, Culture and Media and the Department of East Asian Studies. Her scholarly work centers on Asian visual culture, particularly China's artistic and photographic history from the early twentieth century to the present. Her research interests include cold war visual culture, post-socialist art, Chinese photography history, contemporary photography in Asia, mass art and amateurism, and visual methodologies across disciplines. Gu's work is driven by examining the political ambitions and social functions of art, as well as the politics of aesthetics. Her recent research has focused on aesthetic capitalism and digital surveillance in China, leading to studies of the Digital Countryside initiative and CCP aesthetics anchored in agrarian imaginary. Gu's publications reveal a consistent engagement with visual epistemology, particularly how Chinese artists and photographers have negotiated modernity, nation-building, and transnational influences. Her work spans from early twentieth-century open-air painting practices to contemporary digital visual culture, demonstrating how visual practices serve as critical sites for understanding China's social and political transformations. As co-editor of the open-access academic journal Trans Asia Photography and convening member of the research project 'Alternative Collections and Digital Humanities: Twentieth-Century Chinese Art and Visual Culture,' Gu actively contributes to expanding the field of Asian visual studies through collaborative scholarly initiatives. At UTSC, Gu teaches undergraduate courses on modern and contemporary Asian art, lens-based media in Asia, public art, and art and digital culture. Her scholarly approach combines art historical methods with visual culture studies, media theory, and cross-disciplinary perspectives to examine how visual practices shape and are shaped by political and social contexts in China and beyond.

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Sarah Wilsonمشاهده پروفایل

استاد

The Courtauld Institute of Art, University of LondonUnited Kingdom

Sarah Wilson is Professor of Modern and Contemporary Art at The Courtauld Institute of Art, University of London. She has been a faculty member since 1982 and has held leadership roles including Head of the Modern and Contemporary Section (2005-2008) and Head of Diploma programmes (2014-2015). She is internationally recognized as the English-language expert on Post-War European art and has held visiting positions at Paris-IV Sorbonne and the University of Versailles-Saint Quentin. Wilson was educated at the University of Oxford (BA English Literature) and at the Courtauld Institute of Art (MA and PhD). She was awarded the title Chevalier des Arts et des Lettres in 1997 for services to French art and culture, and received the International Association of Art Critics' Award for Distinguished Contribution to Art Criticism in 2015. She has held visiting professorships at Paris-IV Sorbonne (2002-2004), École Nationale Supérieure des Beaux-Arts (2006-2007), and University of Versailles-Saint Quentin (2012-2013). Sarah Wilson's research spans post-war and Cold War European art, contemporary global art practices, and the intersections between conceptual art, political theory, and visual culture. Her work extends from European avant-gardes to contemporary art across the former Soviet Union and Asia. She is particularly known for her expertise in French Stalinism, neo-Marxism and the arts, and conceptual art practices beyond the 'first world.' Wilson has initiated important academic programs such as the 'Global Conceptualism' MA course with Boris Groys, which connects Anglo-American conceptual art with practices from Moscow and beyond. She has also expanded her research to include modern and contemporary Asian art since 2013. Her extensive publication record shows a consistent focus on European art history with increasing engagement with global perspectives, particularly Asian contemporary art since 2013. Wilson's scholarship bridges art historical analysis with philosophical inquiry, especially regarding French theory and its visual manifestations. Her major publications include 'Paris, Capital of the Arts, 1900-1968' (2002) and 'The Visual World of French Theory: Figurations' (2010), with a second volume 'The Visual World of French Theory II: Interventions' in preparation. Chevalier des Arts et des Lettres (1997) International Association of Art Critics' Award for Distinguished Contribution to Art Criticism (2015) Marie Curie Actions – RBUCE-UP, Chaire d'excellence, Université de Versailles-Saint Quentin (2012-2013) Professor Wilson has supervised 36 PhD students to completion and over 230 MA dissertations, creating what she describes as 'a unique English-language archive in the field of post-1945 European and global art history.' Her former students now hold prominent positions in major institutions worldwide including Tate, the British Museum, Design Museum, Scottish National Gallery of Modern Art, British Council, Centre Georges Pompidou, Kunsthalle Bremen, and universities across Europe and North America. She has received significant research funding including a Marie Curie Actions grant for her project 'Globalisation before globalisation: avant-gardes, academies, revolutions.' Wilson is actively involved with the Courtauld alumni's former East Wing Collection (now VS1, Vernon Square) and has contributed to the Research Forum's programmes. She has curated numerous exhibitions including the 'Global Conceptualism'-related projects and served on the curatorial team of the 1st Asian Biennale (China-Guangzhou) in 2014. Her commitment to women artists has led to early exhibitions of artists like Zofia Kulik and Alina Szapocznikow before their international prominence. She is involved with CCRAC (Cambridge-Courtauld Russian Art Centre), Calvert 22, and Pushkin House in London, reaching out to Russia and Eastern Europe.

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Jose Antonio Hinojos Moralesمشاهده پروفایل

پژوهشگر

Miguel Hernández University of ElcheSpain

Jose Antonio Hinojos Morales is a contemporary artist and researcher affiliated with Miguel Hernández University of Elche, where he completed his PhD in 2020. His academic work focuses on contemporary painting practices within the broader context of visual arts research. His research interests center around pictorial languages and procedures in contemporary contexts , with particular emphasis on the relationship between landscape, nature, and culture. He investigates how landscapes function as cultural constructs and explores innovative methodologies in the representation of the human face through art. His work also engages with decolonial thought and aesthetics, media archaeology, and expanded painting techniques. Hinojos Morales' artistic output demonstrates significant trends in contemporary Spanish art, particularly in the exploration of spiritual, philosophical, and scientific concepts through visual media. His work often challenges conventional perceptions and hegemonic epistemological positions, creating dialogues between traditional and contemporary artistic approaches. Second place, VIII International Painting Competition 'Miradas 2018', Chicago (USA), 2018 Second Prize, XIX Pastor Calpena Painting Prize, Aspe (Alicante), 2015 First Prize, XLVI National Painting Contest Vila de Sant Joan d'Alacant, 2013 First Prize, III National Painting Competition No to Fear, La Nucía (Alicante), 2013 Third Prize, XVII National Painting Competition City of Antequera, Antequera (Málaga), 2013 As an educator and researcher, Hinojos Morales has coordinated the Altea Artistic Residency program, directing multiple landscape-focused scholarship-residencies that support emerging artists. His work bridges academic research with professional artistic practice, contributing to both scholarly discourse and the contemporary art scene in Spain.

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Irving Chan Johnsonمشاهده پروفایل

دانشیار

National University of SingaporeSingapore

Irving Chan Johnson is an Associate Professor in Southeast Asian Studies at the National University of Singapore. A graduate of the Southeast Asian Studies Programme (now Department) in 1996, he earned his PhD from Harvard University in 2004. His academic journey has focused on cultural dynamics of borderland communities, particularly Thai Buddhist communities in Malaysia's Kelantan state, examining how they navigate identity at the intersection of Buddhist and Muslim traditions. Dr. Johnson's research spans social anthropology, visual arts, and cultural studies with particular focus on: Social anthropology of Southeast Asia Visual arts and traditional performance Buddhist communities in borderland regions Cultural identity and marginality Traditional dance and mask traditions in Bali Thai mural painting traditions His scholarly work reveals a consistent thread examining how cultural communities maintain identity through artistic expression, religious practice, and historical narrative. Early publications focused on Malaysian-Thai borderlands, while recent work has expanded to Balinese performance traditions, particularly mask-related arts. His 2013 book The Buddha on Mecca's Verandah represents a significant contribution to understanding cultural identity formation in border regions. As an active cultural practitioner, Dr. Johnson founded Eka Suwara Santhi, Singapore's only Balinese dance group, and volunteers painting Buddhist murals at Wat Uttamayanmuni, a Thai temple in Singapore. His teaching philosophy emphasizes experiential learning, incorporating field trips to Thailand and Bali where students engage directly with cultural contexts through his specialist classes on Thai traditional art (SE3224) and traditional dance in Southeast Asia (SE2224).

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Rachel Priceمشاهده پروفایل

دانشیار

Princeton UniversityUnited States

Rachel Price is an Associate Professor of Spanish and Portuguese at Princeton University, affiliated with the Program in Media and Modernity, the Princeton Environmental Institute, and the Program in Latin American Studies. She holds a Ph.D. from Duke University and a B.A. from Yale University. Her research focuses on Latin American and circum-Atlantic literature and culture, with a particular emphasis on Cuba. Key areas include environmental humanities, media studies, slavery’s legacies, and visual art. She is the author of The Object of the Atlantic (2014) and Planet/Cuba (2015), exploring material aesthetics and planetary crises in Cuban art and literature. Price co-edited El populismo por venir? (2018) and has published widely on topics such as concrete poetry, neoconcrete art, and media during slavery’s height in Cuba. She is a 2024–2025 Harvard Radcliffe Institute Fellow and has held roles in Princeton’s Interdisciplinary Doctoral Program in the Humanities. Her work bridges environmental policy, postcolonial theory, and media history, analyzing how material objects and artistic practices reflect broader socio-political transformations. Recent projects examine climate change in contemporary Cuban art and the interplay between digital culture and postcolonial identities. Price previously taught at Brown and Stony Brook Universities and has engaged in research with Colombia’s Consejo Regional Indígena del Cauca.

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Irene V. Smallمشاهده پروفایل

استاد

Princeton UniversityUnited States

Irene V. Small is a Professor in the Department of Art & Archaeology at Princeton University, specializing in contemporary art and criticism within global and transnational contexts. Her work critically engages with experimental practices from the 1960s–1970s, legacies of abstraction, and the social implications of form, with concentrated focus on Latin American art—particularly Brazil. She actively contributes to interdisciplinary initiatives including the Program in Media and Modernity, the Brazil Lab, and the Program in Latin American Studies. Her research traverses radical pedagogy, expanded cinema, decolonial interventions, and the politics of medium specificity. Central to her scholarship is the interrogation of modernism’s topological field through concepts like Lygia Clark’s 'organic line,' which she deploys to analyze works ranging from Malevich’s Black Square to contemporary practices. She investigates how truncated media forms facilitate itinerancy and connectivity across Brazilian art history, from 19th-century proto-photography to digital remediation. Small’s publications reveal consistent engagement with Brazilian avant-garde movements, examining artists like Hélio Oiticica, Lygia Clark, and Tarsila do Amaral through frameworks of participation, embodiment, and geopolitical critique. Her recent work expands to address free speech, afterlives of slavery, and the decolonization of art institutions, demonstrating evolving focus on art’s capacity to reconfigure social and political realities. Scientific Awards and Grants: Francine and Sterling Clark Art Institute Fellowship Graham Foundation Fellowship Getty Research Foundation Fellowship Dedalus Foundation Fellowship Creative Capital and Andy Warhol Foundation Arts Writers Grant Lemann Institute of Brazilian Studies Fellowship Research Board of the University of Illinois at Urbana-Champaign Grant Small serves on advisory boards for October , Ars , and Texte zur Kunst , and has curated exhibitions including Blind Field (2013) and Multitude (2002). Her teaching spans global contemporary art surveys, modern/contemporary Latin American art, and specialized seminars on decoloniality, gender, and experimentalism. She is affiliated with Princeton’s Department of Spanish & Portuguese, Brazil Lab, Gauss Seminars in Criticism, and Edward Said Memorial Lecture series.

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Michael Evansمشاهده پروفایل

مدرس ارشد

The University of NorthamptonUnited Kingdom

Michael Evans is a Senior Lecturer in Painting and Programme Leader for Fine Art Painting and Drawing at the University of Northampton, where he has been teaching since 1996. He holds a BA (Hons) in Fine Art from Coventry University and completed a practice-based PhD in 2012 on contemporary abstract painting and spiritual experience. He is an active artist and scholar, supervising PhD students and contributing to journals and edited volumes. Bachelor of Arts (Hons) in Fine Art, Coventry University (1984–1987) PhD in Fine Art (Practice-Based), University of Northampton (awarded 2012) Michael Evans' research is deeply rooted in the intersection of abstract painting, spirituality, and contemporary philosophical inquiry. His work explores apophatic modes of thought, the numinous, and transcendental abstraction within a secular context, while also examining how digital technologies influence contemporary painting practices. He investigates how painting can evoke spiritual or transcendent experiences even in non-religious settings, drawing on traditions of negative theology and Jungian psychology. His recent scholarly and artistic output demonstrates a consistent engagement with themes of emptiness, selfhood, otherness, and the metaphysical dimensions of artistic practice. Publications and exhibitions reflect a trajectory focused on the experiential and contemplative aspects of art, particularly how abstraction can serve as a conduit for spiritual or psychological insight. His work often bridges theory and practice, emphasizing process-based approaches and reflective inquiry. Michael Evans has contributed to significant publications such as the International Journal of Religion and Spirituality in Society and the International Journal of Jungian Studies , as well as edited volumes like Contemplations of the Spiritual in Art and Digital, Painting . His exhibitions, including at the Royal College of Art and Northampton Museum & Art Gallery, highlight his commitment to public engagement and artistic innovation. Contributing author to Contemplations of the Spiritual in Art and Photography Published in International Journal of Religion and Spirituality in Society Published in International Journal of Jungian Studies Exhibitions at Royal College of Art, Northampton Museum & Art Gallery, and North East Wales Institute Michael Evans supervises PhD candidates in Fine Art, including Francis Blore, Nour Zantah, and Natasha Toms, whose projects explore drawing, violence in art, and Baroque imagery. He has not received any explicitly mentioned grants, but his sustained research activity and public exhibitions indicate ongoing institutional and academic support. His leadership in the Fine Art programme underscores his role in shaping contemporary art education. He is actively involved in curatorial and collaborative projects, such as the Material Matters exhibition at Northampton Museum and Art Gallery and the Viewfinder digital art project. These initiatives reflect his engagement with interdisciplinary practices, digital media, and community outreach, positioning him at the forefront of contemporary art discourse.

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Madeleine Kellyمشاهده پروفایل

مدرس ارشد

University of SydneyAustralia

Madeleine Kelly is a Senior Lecturer and Undergraduate Curriculum Coordinator at Sydney College of the Arts (University of Sydney), specializing in painting and interdisciplinary art practices. Her work bridges art and science, exploring themes like human-nature intersections, biosemiotics, and avian communication. She holds a PhD in Fine Art from Griffith University (2013) and a BVA (H1) and BEd. Research focuses include expanded painting techniques, color theory, and the interplay between art and ecological systems. Notable exhibitions include The National 4 (2024, AGNSW), Primavera (2005, MCA Sydney), and solo shows at QAGOMA. Her curatorial projects include Birds and Language (Wollongong Art Gallery, 2021) and At Home with Painting (SCA Gallery, 2024). Awards include the 2018 Sunshine Coast Art Prize and residencies in Germany, Cyprus, and South Korea. Her work interrogates materiality, myth, and ecological urgency through sympoietic frameworks, emphasizing collaboration between human and non-human elements.

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Lisa Birkeمشاهده پروفایل

استاد

University of SaskatchewanCanada

Lisa Birke is an interdisciplinary artist and faculty member at the University of Saskatchewan’s College of Arts and Science , where she founded the Digital and Integrated Practice (DIP) area in the Department of Art & Art History in 2019. Her work intersects performance, video art, augmented reality, and installation to critique cultural norms and explore subjective realities through Canadian landscape narratives. Education: BFA (1999) in Visual Art (Painting) from Emily Carr Institute of Art and Design MFA (2013) in Fine Arts (Studio Art) with distinction from the University of Waterloo Birke’s research investigates the collision of art history, pop culture, and everyday life in multi-channel digital works. She blurs the line between theatrics and documentation, focusing on themes like postfeminist critique, relational aesthetics, and technological mediation. Recent projects include TrippingTime (2024) and Natures of Reality (2021), both utilizing augmented reality for public engagement. Key scientific trends: Immerse audiences in layered realities, challenge normative representations, and employ collaborative digital tools (360 video, AR) to address themes of community, tolerance, and the deconstruction of perfection. Scientific awards: Provost’s New Teacher Award (2022) USSU Teaching Excellence Award (2022) Canada Council for the Arts Grow Grant (2023-2024) Arizona International Film Festival Jury Award (2024) Teaching & advising: Birke advocates for competence, autonomy, and relatedness in pedagogy, emphasizing foundational skills alongside experimental risk-taking. She served as graduate chair (2019-2022) and mentors students in digital media, installation, and performance art. Labs & teams: Principal Investigator for the Shared Spaces augmented reality outreach project (University of Saskatchewan), collaborating with international institutions and grade 8 students in Germany.

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Jennifer Wildمشاهده پروفایل

استادیار

University of Southern CaliforniaUnited States

Jennifer Wild serves as Assistant Professor in the Department of Cinema and Media Studies within the Division of the Humanities at the University of Chicago. Her scholarly work establishes significant connections between early cinema and avant-garde art movements, particularly focusing on the transformative period in Paris between 1900-1923. Wild's research demonstrates how cinematic horizontality—the expanded cultural presence of film through projection, stardom, and distribution—reshaped modernist artistic practices across multiple disciplines. Wild's research centers on the intricate relationships between early cinema and avant-garde movements including Cubism, Dada, and abstraction. Her work examines how canonical modern artists responded to the phenomenology of cinema through concepts like projection horizontality, film stardom, and distribution networks. She investigates how figures such as Picasso, Duchamp, and Picabia incorporated cinematic principles into their artistic practices well before creating actual films, revealing cinema's profound influence on the development of modern art forms. Wild's interdisciplinary methodology bridges film studies, art history, and cultural theory to reconstruct the sensory and ideological landscape of early 20th-century Paris. Analysis of Wild's publication history reveals consistent scholarly engagement with the intersections of cinema and modern art across multiple decades. Her work demonstrates chronological progression from foundational studies of specific artists (Picasso, Duchamp) toward broader theoretical frameworks examining cinematic horizontality, reception phenomenology, and the material conditions of early film culture. The recurring focus on French avant-garde movements, Chaplin's cultural impact, and the theoretical implications of early film exhibition patterns establishes Wild as a leading scholar in redefining how cinema shaped modernist artistic production before the advent of artist-made films.

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Laura Whiteمشاهده پروفایل

دانشیار

Goldsmiths , University of LondonUnited Kingdom

Laura White is a Reader in Fine Art at the Department of Art, Goldsmiths, University of London. She has been teaching on the Fine Art Undergraduate Programme at Goldsmiths since 2006 and has also taught at Manchester Metropolitan University, Nottingham Trent University, Loughborough University, and London Metropolitan University. She serves as an external examiner at various institutions and mentors on the MASS Correspondence Course. Her educational background includes: 2004: MA Fine Art, Goldsmiths College, London 1997: MA Fine Art, Nottingham Trent University, Nottingham 1990: BA (Hons) Fine Art: Sculpture, Loughborough University School of Art and Design Laura White's practice focuses on interactions with materials and objects, exploring ideas of value, profile, association, and meaning. She examines things both as material stuff and anthropological signifiers capable of revealing the human condition - vulnerabilities and capabilities, value systems affected by consumerism and material status, and object/human dependencies. Her works occupy a fluid space, demanding critical discourse while maintaining their own ambiguous and intuitive logic. She continually expands her knowledge through participating in skill-based courses including fish knife skills, taxidermy, baking, butchery, basket weaving, pot throwing, and fishing, reflecting her interest in the notion of 'the constant amateur.' White's recent work shows a consistent exploration of materiality across various forms - from Baroque-inspired pieces to food-based installations and earthbound works. Her practice bridges traditional fine art with conceptual explorations of everyday objects and materials, often incorporating interdisciplinary approaches that span sculpture, installation, drawing, and digital platforms like her TENDERFOOT website. Her notable recognition includes: Ampersand Foundation Fellowship (2023) Laura White has curated numerous exhibitions at prestigious venues including Tintype and Saatchi Gallery in London, Gallery Cadaqués in Spain, SPACEX in Exeter, and Marlborough Contemporary in London. Her project DIWO (Doing it with others) (2015-2017) demonstrates her collaborative approach, while her involvement in workshops like 'what it means to handle stuff - auto-pedagogy - a course in butchery' shows her commitment to hands-on learning and material engagement. She maintains an active digital presence through TENDERFOOT, an online platform for writing on materiality funded by a Goldsmiths Research Award. Her work continues to explore the complex relationships between humans and objects, challenging conventional boundaries between art forms and everyday experiences.

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Matilde Nardelliمشاهده پروفایل

دانشیار

University of West LondonUnited Kingdom

Dr. Matilde Nardelli serves as Associate Professor in Historical and Contextual Studies at the London School of Film, Media and Design, University of West London. She joined UWL in 2015 after holding teaching positions at University College London, the Slade School of Fine Art, and the University of Greenwich. Between 2007 and 2012, she held a prestigious British Academy Post-Doctoral Research Fellowship within the Film Programme of the Centre for Intercultural Studies at UCL. Her research centers on media aesthetics, theories and cultures, with particular emphasis on the moving image's relationship to other mass media (television, photography, computers) and its connection to the category of 'art' and fine-art disciplines such as painting and sculpture. Dr. Nardelli explores media obsolescence, waste and cinema, the movement of cinema to museums and galleries, and desert and apocalyptic imaginaries. Her work demonstrates deep engagement with both theoretical frameworks and historical contexts of visual media. Dr. Nardelli's scholarly output shows consistent development across two decades, with recent publications demonstrating continued focus on Italian cinema (especially Fellini and Antonioni), expanded cinema practices, and the intersection of art theory with media studies. Her work appears across diverse publication formats including monographs, edited collections, and articles in high-impact journals, reflecting both depth and breadth in her research agenda. Her notable achievements include the monograph Antonioni and the Aesthetics of Impurity: Re-Making the Image in the 1960s (Edinburgh University Press, 2020), co-edited volume Bruno Munari: The Lightness of Art (Peter Lang, 2017), and numerous articles in peer-reviewed publications including NECSUS: European Journal of Cinema and Media Studies, The Journal of Visual Culture, Tate Papers, Photographies, The Soundtrack, and The Oxford Art Journal. At UWL, Dr. Nardelli teaches across Media and Communications, Photography, and Film Production programs. She convenes undergraduate modules on Visual Media Cultures: Production and Consumption and Photography Theory, and supervises PhD students in Film Studies and Media. Her teaching spans BA programs in Media and Communications, English and Film, English and Creative Writing, and MA programs in Digital Media, Culture and Economy, demonstrating her interdisciplinary approach to media education.

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Karolina Maria Kotkowskaمشاهده پروفایل

استادیار

Jagiellonian UniversityPoland

Karolina Maria Kotkowska is an Assistant Professor in the Department of Comparative Civilization Studies at the Faculty of Philosophy, Jagiellonian University in Kraków, Poland. Her academic career centers on interdisciplinary research at the intersection of esoteric studies, intellectual history, and cultural phenomena with a focus on Central and Eastern Europe. Her educational background includes degrees in pedagogy, ethnology, and philosophy. She earned her Ph.D. in Philosophy with distinction from the Jagiellonian University in 2021, with a doctoral dissertation on Polish theosophy. Her academic journey includes a six-month internship at the HHP Centre at the University of Amsterdam funded through her National Science Centre Etiuda 4 grant. Dr. Kotkowska's research primarily explores Western esotericism, with particular emphasis on Theosophy and the Theosophical Society in Poland and globally. Her work investigates the boundaries between scientific discourse and occultism at the turn of the 19th and 20th centuries, new religious movements from a comparative perspective, and the role of esoteric ideas in shaping cultural phenomena. She employs intellectual history as her primary methodology to examine alternative spirituality and its cultural manifestations. Her extensive publication record demonstrates consistent scholarly output across multiple journals and edited volumes, with a clear focus on Central and Eastern European esoteric traditions. Her work bridges historical analysis with contemporary relevance, examining how esoteric ideas continue to influence modern culture. The thematic progression of her research shows increasing sophistication in methodology and expanding geographical scope, from specifically Polish contexts to broader Central and Eastern European frameworks. Doctoral dissertation defended with distinction at Jagiellonian University National Science Centre Etiuda 4 scholarship recipient Coordinator of EU-funded CEMORY project (2025-2027) Project leader for National Science Centre grants (Sonata 19, Opus 23, Preludium 6) Co-founder of CEENASWE (Central and Eastern European Network for the Academic Study of Western Esotericism) Co-founder of Polish Association for the Study of Western Esotericism Dr. Kotkowska leads multiple significant research projects including the EU-funded 'Central European Memory of the Holocaust in a Multicultural and Multidimensional Perspective' (CEMORY) as coordinator, and several National Science Centre projects including 'Blurred Boundaries Between Scientific and Occult Discourse at the Turn of the 20th Century' and 'Theosophical Pedagogy: Relationships of a 19th-Century Project to Spirituality and Educational Theory.' She has established herself as a key figure in her field through her organizational roles in academic networks and editorial contributions to scholarly publications. As a co-founder and board member of CEENASWE (the Central and Eastern European Network for the Academic Study of Western Esotericism) and the Polish Association for the Study of Western Esotericism, Dr. Kotkowska has helped establish institutional frameworks for esoteric studies in the region. Her work connects with the European Society for the Study of Western Esotericism (ESSWE), positioning her research within broader international scholarly conversations.

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Robert Spahrمشاهده پروفایل

دانشیار

Indiana UniversityUnited States

Robert Spahr serves as Associate Professor and Director of the School of Media Arts at Southern Illinois University Carbondale. A visual artist working across code-based automated art, live performance, drawing, painting, and sculpture, his practice critically examines the Internet's societal impact, contributing to the discourse of post-Internet art. His academic credentials include: M.F.A. in Sculpture from Parsons School of Design, New York City (1991) B.F.A. in Fine Arts with a concentration in Sculpture from the Art Academy of Cincinnati, College of Art and Design Spahr's research centers on computational art , generative and procedural art processes , and genetic algorithms , with a strong commitment to free/open source software and free culture . His interests extend to mobile media , time-based media , and live art , often manifested in public interventions and digital platforms. Notable projects include the internationally exhibited "Milton's Balm Cruft" and performances at events like GENERATIVE ART 2021 in Sardinia. His scholarly output, though limited in traditional publications, is influential in new media art circles, as evidenced by citations in key texts such as "Thinking through Digital Media" and "Dysfunction and Decentralization in New Media Art and Education". His work consistently explores network culture, automation, and digital media's societal implications through exhibitions like Re-Fest 2023 and Generative Art FUTURING Past. As co-founder of Expanded Arts, Spahr directed over 300 productions including the Off-Broadway hit "Shakespeare's R&J" (longest-running Romeo & Juliet in Off-Broadway history), "Free Shakespeare in the Park(ing) Lot" series, and the "94 plays in 94 days summer festival" on Manhattan's Lower East Side.

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