#CTB14: Meet our Participants

Meet this year’s presenters, who will join is on April 4-5, 2014. All events are free and open to the public. For more info about the schedule, click here.

Sara Champlin specializes in classical art and archaeology at the University of Wisconsin, Madison.  Her research interests include elite dining practices, hybrid architectural forms, and various social, political and economic factors that affect urban landscapes.  Her masters research at the University of Massachusetts, Amherst focused on the appropriation and re-use of Greek myth for Roman funerary contexts.  More recently she has been working with wall frescoes and floor mosaics to determine ancient systems of organizing space.  Her paper Town Planning in the West: Metapontum, Megara Hyblaea, and Akragas developed out of a graduate seminar on the topic of Greek Colonization with Professor Nicholas D. Cahill.

Nicole Wagner is currently pursuing her Ph.D. in Art History at Binghamton University. Her work focuses on Early Modern Italian painting and culture, with an emphasis on Confraternal patronage, Catholic Reformation, conventual space, and devotional art.  Nicole received her BA in Art History from the University at Geneseo and her MA in History and Museum Education from the University at Buffalo.

Rotem Rozental explores the intersections of photography, social networks and nationalism, focusing on Zionist photographic archives. She is currently pursuing her PhD in the art history department of Binghamton University. Rotem is the editor of The Shpilman Institute for Photography Blog (thesip.org), and co-artistic director of “We, Festi-conference for Creative Collectives” (2012-2013), held annually as part of the Jerusalem Season of Culture (jerusalemseason.com). She also edits the Season’s website, blog and social media. In addition, Rotem writes exhibition reviews for Arforum.com and other magazines.

As curator and producer, she worked in various frameworks, both institutionalized and alternative. These ventures include MoBy – Museums of Bat Yam, located in a struggling urban environment, as well as independent art events, among them “Three Cities Against the Wall” (2005) and the video art project “Video Fly” co-founded with Gaby Ron, which intervened in various urban settings. She also co-founded The Salon with Leah Abir in Tel Aviv, weekly study groups devoted to art history.

Silvia Benedetti is a M.A. student in Art History at Hunter College. She is on her forth and last semester before writing her thesis. She holds a B.A. in Media and Communication Studies from Universidad Monteávila in Caracas and a Graduate Diploma in Art History from Universidad Metropolitana in Caracas. Before coming to New York she worked at Carlos Cruz-Diez Studio in Paris, taught at Universidad Monteávila and worked at Fundación Gego in Caracas.

Kelly Long is a third-year PhD student in the University of Rochester’s Visual and Cultural Studies program, having graduated from Vassar College in 2011 with a BA in art history. Her dissertation will focus on the expression and mediation of dwelling in art from the late 1960s to the present, focusing on art in the aftermath of the subprime mortgage crisis. Her interests include postmodern and contemporary art, space and memory, identity politics, and phenomenology.

Phuong-lan Rebekah Tonthat is a second year Master’s student from Stony Brook University, specializing in Contemporary American Public Art with a Bachelor’s in Fine Arts. Her Master’s thesis is entitled “Os Gemeos and the Giant of Boston.”

Stephanie Peterson is a PhD student in art history at the City University of New York Graduate Center interested in figurative painting in inter-war Belgium and the Netherlands.  She received her M.A. in art history from the University of Massachusetts, Amherst in 2011.  She currently teaches a course in twentieth century art history at Hunter College in New York City.

Amanda Beardsley is currently in her second year as a PhD student in Art History at Binghamton University. She received her MA in Art History from the University of Utah. Her interests include the intersections between technology, religion, and ritual; landscape aesthetics; site-specificity and spatial politics; reception; media archeology; and performance art.

Hye-Young Min is a graduate student in Art History at Binghamton University. She received her B.A. in Art Theory from Korean National University of Arts in Seoul, South Korea. After serving as an archivist at Seoul Olympic Museum of Arts and an assistant of Architecture department in Korean National University of Arts, she moved to Binghamton to study the relationship between politics and art.

As a second year graduate student, she is working on her Master’s thesis about Jean-Luc Godard’s film, Film Tract no.1968, Le Rouge, under the advisement of Professor Tom McDonough. Though her primary research interests include alternative protest arts and films in the May‘68 in Paris, she embraces all aspects of art related to politics after World War II. She is also interested in modern and contemporary art in South Korea, in particular, how Korean art from the 1980s onwards has responded to the memory of Korean War and the reality of national division.

Kyungso Min
I received my B.A. in Sociology from Korea University, Seoul, South Korea, in 2008, and M.A. in Art History from Seoul National University, South Korea, in 2012. As a second-year graduate student in the Art History and Criticism program at Stony Brook University, New York, I am focusing on modern and contemporary Asian visual culture and Asian diaspora artists. My research mainly deals with the ways that second- or third-generation Asian immigrant artists have absorbed unconventional art forms and collaborations as strategies for negotiating their peripheral status within both the dominant art scene and their adopted societies.

Eitan Freedenberg is a PhD student in Visual and Cultural Studies at the University of Rochester. In his graduate work, he investigates the displacement of preindustrial technologies by mass production, and the reparative function of handicraft within late capitalism. He is currently developing a dissertation on open-air museums, greenhouses, and nineteenth-century architectural precursors to virtual reality. He is a member of an interdisciplinary working group on religion and prison abolition and an editor of InVisible Culture: An Electronic Journal of Visual Culture. In 2014, the Andrew W. Mellon Foundation awarded him a two-year fellowship in digital humanities.

Stephanie Hohlios holds a Masters of Art in Art History from the University of Utah, and is currently pursuing a second MA in Asian Studies in preparation for a doctoral program. She specializes in post-World War II Japan (1945-c. 1965). Her Master’s Thesis (forthcoming in Spring 2015) situates kamishibai (“paper drama,” a form of live picture-storytelling that resembles the medieval Buddhist pedagogical practice of e-toki, or “picture-explaining,” whose pictures use naturalistic imagery similar to that of post-war gekiga manga) within the greater post-war context of performance and visual drama in Japan.

Lyno Vuth is a Fulbright Fellow undertaking an MA in Art History at SUNY Binghamton. He is also an artist, curator, and artistic director of Sa Sa Art Projects, the only experimental artist-run space in Phnom Penh. Lyno’s research centers on Cambodian modern and contemporary art, especially practices that are socially engaged, collaborative, and experimental. He publishes internationally on Cambodian art, including in Trans Asia Photography Review (2013); Creative Time Reports (2013) and Phnom Penh: Rescue Archaeology (2013, edited by Erin Gleeson et al). Lyno has delivered papers at the United Nations Social Forum, Geneva (2011) and the Museum of Modern Art, New York (2013), and has exhibited in the US, China, and throughout Southeast Asia.

Florencia San Martín is a second year PhD student from Rutgers University studying contemporary Art, with particular interest in Latin American Art, and photography.  Before starting her PhD, she earned her MFA in Creative Writing in Spanish at New York University with a thesis titled: “Roberto Matta: On the act of Painting”. For both degrees, San Martín has been awarded a full scholarship granted by the National Commission for Scientific and Technological Research from the Republic of Chile. San Martín is also an independent curator and she is currently a contributor for art journals Art Nexus, Artishock, and Arte y Crítica.

Sandrine Canac is a PhD candidate in Art History and Criticism at Stony Brook University, State University of New York. She received her Master degree in Aesthetics and Art Sciences from Université Pantheon-Sorbonne in Paris, France. She is currently working toward the completion of her dissertation dedicated to the early work of the American artist Robert Barry, an early pioneer of what became known as Conceptual art.

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