Curriculum Vitae

Birthplace: Rio de Janeiro, Brazil. Residing in the United States since 1988 with dual citizenship.

DEGREES

Ph.D. candidate in Media and Communications, European Graduate School, Switzerland, 2008.

M.A., Art History, Theory, and Criticism, The School of the Art Institute of Chicago, 1996.

M.F.A., Printmaking and Drawing, The University of Maryland, 1991.

B.A., History, Pontifícia Universidade Católica, Rio de Janeiro, 1977.

PROFESSIONAL EXPERIENCE

Penn State University, Assistant Professor Critical Studies, School of Visual Arts, 2001-present.

The School of the Art Institute of Chicago, Adjunct Assistant Professor, Department of Modern

Art History, Theory, and Criticism, 1997-2001.

Harrington Institute of Interior Design, Lecturer/Instructor 1998-2001.

DePaul University, Department of Art and Art History, Lecturer/Instructor 1996-98.

University of Maryland at College Park and Baltimore County, Art Depart., Instructor 1992-93.

TEACHING ABROAD

Penn State University, Honors course in Brazil—Rio de Janeiro and Salvador, Spring 2004.

Penn State University, Summer in Mexico (Puebla, Oaxaca, Mexico City, Cuetzalan), 2004.

Universidade de Brasília, Brazil, Art Department, Fulbright Lecturer, July-December 2003.

Universidade de Brasília, Brazil, Art Department, Visiting Artist Residency, May-June 2002.

The Harrington Institute of Interior Design study in Italy (Florence, Siena, Venice), Spring 2001.

PUBLICATIONS

BOOK CHAPTERS

“Eduardo Kac: Networking as Medium and Trope” in Ecosee: Image, Rhetoric, and Nature, Sid Dobrin and Sean Morey (Eds.), Albany, NY: State University of New York Press, forthcoming 2007.

“From Muses to Makers of Media Arts,” in ://Brasil, Annick Bureaud, (Ed.), Paris: Anomos/Hyx, 2005. [Bilingual in French and English].

“Lygia Clark and Hélio Oiticica: a Legacy of Interactivity and Participation for a Telematic Future,” in ://Brasil, Annick Bureaud, (Ed.), Paris: Anomos/Hyx, 2005 (first published in Leonardo, MIT Press, 1997). [Bilingual in French and English].

“From Mail Art to Telepresence: Communication at a Distance in the Works of Paulo Bruscky and Eduardo Kac” in At a Distance: Precursors to Art and Activism on the Internet, Annmarie Chandler and Norie Neumark, (Eds.), Cambridge, Massachusetts: MIT Press, 2005.

“Brazilian Counterparts: Old Histories and New Designs” in Women, Art, Technology. Judy Malloy, (Ed.), Cambridge, Massachusetts: MIT Press, 2003.

“Lygia Clark and Hélio Oiticica: A Legacy of Interactivity and Participation for a Telematic Future,” in Corpus Delecti: Performance Art of the Americas, Coco Fusco, (Ed.), London: Routledge, 2000 (abridged version of essay first published in Leonardo, MIT Press, 1997).

“Hélio Oiticica's Parangolés: Nomadic Experience in Endless Motion,” in Diaspora and Visual Culture: Representing Africans and Jews, Nicholas Mirzoeff, (Ed.), London: Routledge, 1999.

“Object Lessons” in Eduardo Kac: Teleporting an Unkown State, Peter Tomaz Dobrila and Aleksandra Kostic, (Eds.), Maribor, Slovenia: Kibla, 1998. [Bilingual in English and Slovene].

ARTICLES IN REFEREED JOURNALS

“Elsewhere in Contemporary Art: Topologies of Artists’ Works, Writings, and Archives,” Art Journal, forthcoming 2006.

“Language's Uncertainty Principle: An Interview with Eduardo Kac,” Xenia 2, ISSN 1521-2556, April 1999.

“A Estética do Diálogo” [The Aesthetics of Dialogue], reVISta, Journal of the graduate program in Art and Technology of the Universidade de Brasília, Ida, V.1, N.1, 1999, pp. 9-17. [In Portuguese].

“Lygia Clark and Hélio Oiticica: a Legacy of Interactivity and Participation for a Telematic Future,” Leonardo Journal, Vol. 30, N. 4., 1997, pp. 249-259.

“Eduardo Kac: Telepresença Problematiza a Visão” [Eduardo Kac: Telepresence Challenges Vision], Cadernos de Pós-Graduação, Journal of the Instituto de Artes, Unicamp, São Paulo, Ano 1-Volume 1 – No.1, 1997, pp. 7-12. [In Portuguese].

“Kac Lembra Que o Lápis Já Foi Revolucionário” [Kac Reminds Us That The Pencil Was Once Revolucionary], Journal of the Universidade Federal do Rio Grande do Sul, Porto Alegre, Ano 1, No. 2, Outubro de 1997, pp. 15-20. [In Portuguese].

ART AND FILM MAGAZINES

“Object Lessons,” World Art, Spring 1/1996, pp. 18-23.

“Orson Welles in Brazil and Carmen Miranda in Hollywood: Mixing Chiclets with Bananas,” Blimp: Zeitschrift für Film, Gras, Austria, 1996, pp. 42-49. [Bilingual in English and German].

EXHIBITION AND BOOK REVIEWS

“Review of Museum Highlights: The Writings of Andrea Fraser,” Leonardo Reviews, Massachusetts Institute of Technology-MIT, web publication, ISSN: 1559-0429, Forthcoming 2006.

“Embodied and Embedded Visions: The Nineteenth Annual Conference of the Society for Literature, Science, and the Arts,” Leonardo Reviews, Massachusetts Institute of Technology-MIT, web publication, ISSN: 1559-0429, February 2006.

“ISEA2002: connecting art & technology with transportation, transit, tourism, and theory,” review of the 11^th International Symposium on Electronic Art-ISEA, Leonardo Reviews, Massachusetts Institute of Technology-MIT, web publication, ISSN: 1559-0429, December 2002.

“Review of Body and Building: Essays on the Changing Relation of Body and Architecture by George Dodds and Robert Tavernor,” Leonardo Reviews, Massachusetts Institute of Technology-MIT, web publication, ISSN: 1559-0429, October 2002.

“Contendo o Fluxus: Paradoxos em Movimento” [Containing Fluxus: Paradoxes in Movement], Arte Futura, Brasília, Brazil, September 2002. [In Portuguese].

“Eduardo Kac’s Genesis: Biotechnology Between the Verbal, the Visual, the Auditory, and the Tactile,” Leonardo Reviews, Massachusetts Institute of Technology-MIT, web publication, ISSN: 1559-0429, December 2001.

“Tissue Culture, Art, and Architecture: On the Cultural Implications of Biotechnology,” In The Loop, The Art Institute of Chicago, 2001, pp. 8-9.

“Fernando Uribe: Gardens of Rapture,” Arte Al Día, Buenos Aires, Argentina, January 1999, pp. 52-55. [Bilingual in Spanish and English].

“From Stable Object to Participating Subject: Content, Meaning, and Social Context at ISEA97,” New Art Examiner, 1997, pp. 18-23.

“Home,” New Art Examiner, November 1997, p. 56.

CATALOGUE ESSAYS AND OTHER PUBLICATIONS

“Art and Criticism on the Campus: Institutional Change, Autonomy, and Utopia,” catalogue of the exhibition Dialogue and Diversity, Leo Mazow, curator, Palmer Museum of Art, Pennsylvania State University, 2005.

Three chapters titled “Movimentos e Tendências Contemporâneas” [Contemporary Movements and Trends]; “Alteridade: Políticas das Diferenças” [Alterity: The Politics of Difference]; “O Conteúdo Utópico da Arte” [The Utopic Content of Art]; in História[s] da Arte: do Moderno ao Contemporâneo, Marília Panitz and Renata Azambuja, orgs., Brasília: Centro Cultural Banco do Brasil and Universidade de Brasília, 2004. [In Portuguese].

“A Sky on the Floor: Utopia, Alterity and the Violence of History,” mid-career retrospective catalogue of Brazilian artist Gê Orthof, Fundo da Arte e da Cultura, Brasília: FAC/SEC/DF, Brazil, 2003. [Bilingual in Portuguese and English].

“The Edge of Myth,” exhibition catalogue of Spanish artist Salvador Calvo, Galeria Grupo EFE, Valencia, Spain, and Aldo Castillo Gallery, Chicago, 1998. [Bilingual in Spanish and English].

“African Within,” exhibition catalogue of South African artist Lorna March, Aldo Castillo Gallery, Chicago, 1997.

“Eduardo Kac: La Telepreséncia Problematitza la Visió” [Eduardo Kac: Telepresence Challenges Vision], Universitat Pompeu Fabra, Barcelona, Spain as a leaflet by the Institut Universitari de L’Audiovisual, 1997. [In Catalan].

“Eduardo Kac: Rara Avis,” catalogue of the I Bienal de Artes Visuais do Mercosul, Frederico de Morais curator, FBAVM, Porto Alegre, 1997. [In Portuguese].

EDITORIAL WORK, TRANSLATIONS, AND ILLUSTRATIONS

Leonardo Reviews — Editorial Review member since 2000.

Editorial coordination of the catalogue What’s Fluxus? What’s not! Why, Jon Hendricks, curator; Evandro Salles org., Banco do Brasil and the Gilbert & Lila Silverman Fluxus Collection Foundation, Brasília, 2002. [Bilingual in Portuguese and English].

Mario Ramiro, “Between Form and Force: Connecting Architectonic, Telematic, and Thermal Spaces,” Leonardo, Volume 31, No. 4 (MIT Press, 1998). [Translated from Portuguese to English].

Carlos Fadon Vicente, “Evanescent Realities: Works and Ideas on Electronic Art,” Leonardo, Volume 30, No. 4 (MIT Press, 1997). [Translated from Portuguese to English].

Eduardo Kac “Aspectos da Estética das Telecomunicações” in Comunicação na Era Pós-Moderna, Mônica Rector and Eduardo Neiva, organization. Petrópolis, Brazil: Editora Vozes, 1997. [Translated from English to Portuguese].

Illustration of the cover of the romance O Experimento de Avelar by Luiz Eduardo Soares, Rio de Janeiro: Relume Dumará, 1997.

LECTURES AND SYMPOSIA

KEYNOTE SPEAKER

Museum of Contemporary Art, Chicago. Exhibition lecture series of the Tropicália show, Carlos Basualdo, curator. Lecture title “Lygia Clark and Hélio Oiticica: Rethinking the Object and Challenging the Institution in the 60s and 70s,” November 8, 2005.

Centro Cultural Banco do Brasil-CCBB, Brasília, Brazil. Art History lecture series História (s) da Arte: Do Moderno ao Contemporâneo [Histories of Art: From the Modern to the Contemporary]. Three lecture titles: “Movimentos e Tendências Contemporâneas” [Contemporary Movements and Trends], November 18; “Alteridade: Políticas das Diferenças” [Alterity and the Politics of Difference], November 25; “O Conteúdo Utópico da Arte” [The Utopic Content of Art], December 2, 2003.

IV Seminário de Pesquisa da FAV: Cultura Visual: Caminhos e Projetos [IV Research Colloquium of the School of Visual Arts: Visual Culture Graduate Program: Routes and Projects] UFG-Universidade Federal de Goiás, Goiânia, Brazil. Lecture title “Arte e Crítica no Campus: A Universidade Como Meio” [Art and Criticism on the Campus: The University as Medium], October 21-23, 2003.

SESSION CHAIR

College Art Association Annual Conference, Seattle. Chair of the session “Art and Criticism on the Campus: The University as Medium,” Feb. 19, 2005.

The XXIV International Congress of the Latin American Studies Association, Dallas, Texas. Chair of session “Making Meaning Out of Context: Dialogical Strategies in Brazilian and Argentine Art and Architecture,” March 27-29, 2003.

The Eighth International Symposium on Electronic Art, Moderator of the panel “Digital Geography,” Chicago, 1997.

REFEREED CONFERENCE PAPERS

Latin American Studies Association Conference (LASA), San Juan, Puerto Rico. Paper title “Arte Postal em Recife: Transnational Networks of Art and Activism in the Early 1970s,” in the panel Latin American Countercultures in Comparative Perspective, March 15-18, 2006.

First Midwest Meeting of Brazilianists, University of Wisconsin-Madison. Paper title “Paulo Bruscky and Eduardo Kac: Fluid Boundaries Between Artworks, Writings and Archives,” April 16, 2005.

II Simpósio Internacional: As Mulheres e a Filosofia [II International Symposium:

Women and Philosophy], UNISINOS-Universidade do Vale do Rio dos Sinos, São Leopoldo, Rio Grande do Sul, Brazil. Paper title “Brazilian Counterparts: Old Histories and New Designs,” November 11-14, 2003.

International Congress Theoria Aesthetica Theodor Adorno, Universidade Federal de Minas Gerais, Belo Horizonte, Brazil. Paper title “Éden: Utopia e Crítica Cultural na Obra de Hélio Oiticica e Eduardo Kac” [Eden: Utopia and Cultural Critique in the oeuvre of Hélio Oiticica and Eduardo Kac], September 9-12, 2003.

International Symposium of Electronic Art, Nagoya, Japan. Paper title “Hybrid Aesthetics: Art as Dynamic Signification,” October 28, 2002.

College Art Association Annual Conference, Philadelphia. Paper title “Mario Pedrosa: Aesthetics and Politics of Art Criticism in 20th Century Brazilian Visual Culture,” February 20, 2002.

College Art Association Annual Conference, Los Angeles. Paper title “São Paulo and Mercosul Biennials: Negotiating South America’s Place in 20^th Century Art,” 1999.

International Congress of the Latin American Studies Association, Chicago. Paper title “Orson Welles in Brazil and Carmen Miranda in Hollywood: Mixing Chiclets with Bananas,” September 24-26, 1998.

The Eighth International Symposium on Electronic Art, Chicago. Paper title “Lygia Clark and Hélio Oiticica: A Legacy of Interactivity and Participation for a Telematic Future,” 1997.

College Art Association Annual Conference, Boston. Paper title “Hélio Oiticicia’s Parangolés: Nomadic Experience in Endless Motion,” 1996.

INVITED LECTURES

Invited speaker, The School of the Art Institute of Chicago, Department of Art and Technology. Lecture title “Network Art and the Ideological Circuits of the Museum, the Mass Media, and the Art Market,” November 9, 2005.

Invited speaker, Pontifícia Universidade Cathólica of Rio de Janeiro, Brazil. Lecture title “Estudos Culturais, Cultura Visual, e Estudos Visuais: Redesenhando as Fronteiras entre a História da Arte, a Teoria, e a Crítica” [Cultural Studies, Visual Culture, and Visual Studies: Examining the Boundaries Between Art History, theory and Criticism], September 22, 2003.

Invited speaker and panel discussant, Symposium Limites do Moderno [Limits of Modernity], PUC-Pontifícia Universidade Católica do Rio de Janeiro, Brazil, Graduate Program in the Social History of Culture. Lecture title “Comunicação à Distância e Ativismo Cultural nos anos 1970: Paulo Bruscky da Arte Correio à Telearte” [Communication and Cultural Activism At a Distance in the 1970s: Paulo Bruscky from Mail Art to Tele Art], June 26-28, 2003.

Invited speaker, Universidade Federal do Rio Grande do Sul, Graduate Program in Visual Arts of the Instituto de Artes UFRGS, Porto Alegre, Brazil. Lecture title “Arte e Crítica no Campus: A Universidade Como Meio” [Art and Criticism on the Campus: The University as Medium], November 4.

Invited critic, Universidade Federal do Rio Grande do Sul, Graduate Program in Visual Arts of the Instituto de Artes UFRGS, Porto Alegre, Brazil. Workshop title “Correspondências, Trocas e Traduções: Interpelações no Espaço Público” [Equivalences, Exchanges, and Translations: Utterances in the Public Space], November 5-6, 2003.

Invited speaker and discussant, Georgia State University, Atlanta, Georgia, Center for Latin American and Latino/a Studies, Conference Brazilian Popular Culture. Lecture title “Cannibalistic Strategies of the Brazilian Avant-Gardes,” in the panel “Art and Literature,” April 3, 2002.

Invited speaker, The First Mercosul Biennial, Universidade Federal do Rio Grande do Sul, Brazil. Lecture title “Interatividade, Dialogismo, e Telepresença na Obra de Eduardo Kac” [Interactivity, Dialogism, and Telepresence in the Work of Eduardo Kac], 1997.

Invited artist, workshop title “Non-toxic Waterbased Materials For Monoprints,” at the Museu da Gravura Cidade de Curitiba, Paraná, Brazil, July 1991.

FELLOWSHIPS, GRANTS AWARDS, AND HONORS

2005            Penn State University, Institute for the Arts and Humanities, Individual Faculty Grant.

Penn State University, College of Arts and Architecture, Faculty Research Grant.

2004            Penn State University Roy C. Buck Award for the best essay published in the College of Arts and Architecture in 2004 (“Brazilian Counterparts: Old Histories and New Designs,” in Women, Art, Technology, Judy Malloy, ed. MIT Press, 2004).

2003            U.S. Fulbright Scholar Award for Lecture/Research in Brazil.

2002            Penn State University, Institute for the Arts and Humanities, Individual Faculty Grant (with Carlos Rosas).

Penn State University, College of Arts and Architecture, Faculty Research Grant (with Carlos Rosas).

2001            Penn State University, College of Arts and Architecture, Faculty Research Grant.

2000            School of the Art Institute of Chicago, Faculty Enrichment Grant.

1998            School of the Art Institute of Chicago, Faculty Enrichment Grant.

1997

USIS Traveling Grant to lecture at the Universidade Federal do Rio Grande do Sul, Porto Alegre, Brazil.

1991

Awarded a grant by The Partners of The Americas Organization (Assistance Funds for Cultural Projects).

1990

47º Salão Paranaense, Museum of Contemporary Art of Paraná, Curitiba, Brazil. Acquisition Prize.

1987

Salão de Arte Contemporânea de Pernambuco, edição 87, Recife, Brazil, 1987. Honorable Mention.

TEACHING RECORD

PENN STATE UNIVERSITY

School of Visual Arts, 2001-present

Graduate, Critical Theory:

·      ART 511 Contemporary Issues

Undergraduate, Critical Theory:

·      Seminar in Contemporary Art

·      Poetics and Politics of Brazilian Art and Culture (author of the course)

·      Mexican Culture and Civilization

·      The Visual Arts and the Studio: An Introduction

Undergraduate Studio:

·      Beginning Drawing

·      Studio Special Topics: Drawing

·       Art & Design Studio

THE SCHOOL OF THE ART INSTITUTE OF CHICAGO

Department of Modern Art History, Theory, and Criticism, 1997-2001

Graduate:

·      Survey of Modern & Postmodern Art

Undergraduate:

·      Reverie and Revolt in Brazilian Visual Culture (author of the course)

·      Latin American and Caribbean Film by, for, and about Women

·       Latin American Avant-Gardes (co-author of the course)



HARRINGTON INSTITUTE OF INTERIOR DESIGN 1998-2001

Undergraduate:

·      Aesthetics

·      Basic Design

·      Fundamentals of Color

·       Drawing

DEPAUL UNIVERSITY

Department of Art and Art History, 1996-98

Undergraduate:

·       Principles of Art and Art History

·       2D Design.



UNIVERSITY OF MARYLAND COLLEGE PARK AND BALTIMORE COUNTY

Department of Visual Arts, 1992-93

Undergraduate:

·      Painting I

·      Drawing I

·      Visual Concepts

·      Drawing II / Mixed Media

·      2D Design.

EXHIBITION RECORD

SELECTED SOLO AND TWO-PERSON EXHIBITIONS

Palindromes, solo show, The University of Brasília Gallery, Brazil, 2002.

Dwelling on the Edge, solo show, Aldo Castillo Gallery, Chicago, 1998.

Simone Osthoff/Gê Orthof, two-person show at the Museum of Contemporary Art of São Paulo, Brazil. Curated by Ana Mae Barbosa, 1994.

Simone Osthoff’s Monoprints, solo show, Museu da Gravura Cidade de Curitiba, Brazil, 1990.

SELECTED JURIED GROUP EXHIBITIONS

48º Salão Paranaense, Museum of Contemporary Art of Paraná, Curitiba, Brazil. Selected to represent Brazil in the “1st Latin-American Visual Arts Exhibition” in Curitiba, 1991.



Southern Graphics Council Traveling Show (exhibited in multiple venues between 1990 to 1992) - Juried by James Steg - The Southern Graphics Council, Birmingham, Alabama, 1990.

47º Salão Paranaense, Museum of Contemporary Art of Paraná, Curitiba, Brazil, 1990. Acquisition Prize.

Plate/Block/Screen/Stone, A Traveling Graphic Arts Exhibition - Sponsored by the MNCP-PC Maryland. Juried by Helen Frederick, 1989.

International Print I - Juried by Jane Haslem-International Monetary Fund, Washington, DC., 1988.

Exposición “Premio La Joven Estampa,” Casa de Las Americas, Havana, Cuba, 1987.

Salão de Arte Contemporânea de Pernambuco, edição 87, Recife, Brazil, 1987. Honorable Mention.

3rd International Biennial Print Exhibit, Republic of China, 1987.

SELECTED INVITATIONAL EXHIBITIONS

Dialogue and Diversity, Leo Mazow, curator, Palmer Museum of Art, Penn State University, 2005.

Three Latin American Women Artists, Aldo Castillo Gallery, Chicago, 1997. [Reviewed by John Brunetti in the New Art Examiner, October 1997].

Art of Iberoamerica, Chicago Cultural Center, Chicago, Illinois, 1996.

Around the Coyote Mid-Winter International Art Exhibit. Aldo Castillo, curator, Chicago, Illinois, 1996.



“Águas Emendadas,” collaborative installation by Simone Osthoff, Gê Orthof and Regina de Paula. Evandro Salles, curator, Galeria Parangolé, Brasília, Brazil, 1995.

“Fronteiras,” collaborative installation by Simone Osthoff, Gê Orthof and Regina de Paula. Maria Isabel Ribeiro, curator, Museu de Arte Brasileira, Fundação Armando Alvares Penteado. São Paulo, Brazil, 1995.

“Paradise Endangered—The New World in Contemporary Prints,” an exhibition from the American Print Alliance, Dr. Carol Pulin, Curator. Print collaboration by Simone Osthoff, Sam Peters, and Phyllis Wright, Baltimore City Hall, MD, 1993.

X Mostra da Gravura “Celebrating the Americas,” Museu da Gravura Cidade de Curitiba, Brazil, 1993.

49th Salão Paranaense, Museum of Contemporary Art of Paraná, Curitiba, Brazil, 1992.

Maryland Printmakers in Brazil - Traveling Show. Bob Blackburn, curator. Curitiba: Museu da Gravura; and Rio de Janeiro: Cândido Portinari Gallery at the Universidade Estadual do Rio de Janeiro (UERJ), Brazil, 1991.

10 Selected Artists, Walter Gomez curator, Knight Gomez Gallery, Baltimore, 1991.



WORKS IN COLLECTIONS

Museu da Gravura Cidade de Curitiba, Brazil.

Museu de Arte Contemporânea do Paraná, Curitiba, Brazil.

Museu Nacional de Bellas Artes, Rio de Janeiro, Brazil.

Private and Corporate Collections in England, Brazil, and the United States.

CURATORIAL WORK

“Selections from The Maryland Printmakers Folio,” a traveling exhibition to multiple venues in Rio de Janeiro and Paraná, Brazil, 1993-94.

“Contemporary Prints From Brazil,” twenty-five Brazilian Printmakers selected from the Museu da Gravura in Curitiba - a traveling exhibit to PGCC Gallery in Maryland and to the Brazilian American Cultural Institute in Washington, D.C, 1993.

Lectures, critiques, and workshops in Brazil of Printmaker Sam Peters, Museu da Gravura Cidade de Curitiba in Paraná, and the Escola de Artes Visuais in Rio de Janeiro, Brazil, 1992.

Awarded a grant by The Partners of The Americas Organization (Assistance Funds for Cultural Projects), 1991.

PROFESSIONAL MEMBERSHIP

CAA – College Art Association, 1991-present.

Papers presented at annual conferences in Chicago, 1997; in Los Angeles, 1999; and in Philadelphia, 2003; Chair of session in Seattle, 2004.

LASA – Latin American Studies Association, 1998-present.

Member of the board council of the Brazil section from 2002 to 2006.

Papers presented in Chicago, 1998; and in San Juan, Puerto Rico, 2006;

Chair of session in Dallas, Texas, 2003.

ALAA – Association for Latin American Art (affiliated society of CAA), 2002-present.

BRASA – Brazilian Studies Association, 2003-present.

Paper presented in Madison Wisconsin, 2005.

MARYLAND PRINTMAKERS — Board of directors, 1990-93.

DISSERTATION AND THESIS WORK

Masters of Fine Arts and Masters of Arts Committees

Cyriaco Lopes

Master of Fine Arts, April 2002

Visual Arts, UMBC

Jitesh Malik

Master of Fine Arts, Nov. 2002

School Visual Arts, PSU

Jenny Rogers

Master of Fine Arts, May 2003

School Visual Arts, PSU

Jodi Brown

Master of Fine Arts, May 2003

School Visual Arts, PSU

Adriana Silva Cabral

Master of Arts, Nov. 2003

University of Brasília

Jennifer Hines

Master of Fine Arts, May 2004

School Visual Arts, PSU

Joo Yeon Woo

Master of Fine Arts, May 2005

School Visual Arts, PSU

Anna Divinsky

Master of Fine Arts, May 2005

School Visual Arts, PSU

Mihail Tomescu

Master of Fine Arts, May 2005

School Visual Arts, PSU

Hagit Barkai

Master of Fine Arts, May 2007

School Visual Arts, PSU

Jonathan Kline

Master of Fine Arts, May 2007

School Visual Arts, PSU

Benjamin A. Fehl

Master of Fine Arts, May 2007

School Visual Arts, PSU

Doctoral Qualification Exam Committees

Ilenia Colón Mendoza

Ph.D. Candidate, November 2004

Art History

Adetty Pérez Miles

Ph.D. Candidate, December 2004

Art Education

Doctoral Dissertation Proposal Committees

Jennifer H. Noonan

Ph.D. Candidate, Jan. 2003

Art History

Ilenia Colón Mendoza

Ph.D. Candidate, Nov. 2004

Art History

Adetty Pérez Miles

Ph.D. Candidate, Dec. 2005

Art Education

SERVICE TO THE UNIVERSITY

OUTREACH

PSM-WPSUTV/FM (Public Service Media and the Research University), 2005-07

ORGANIZATION OF VISITING ARTISTS

Faculty Exchange Program between the College of Arts and Architecture of PSU and the      Instituto de Artes of the Universidade de Brasília. 2002-present.

Gê Orthof’s residency and lecture “thestripperlibrary,” Palmer Museum of Art, April 17, 2002.

Eduardo Kac’s lecture, Palmer Museum of Art, March 1, 2005.

Paul Miller aka D.J.Spooky’s lecture, Palmer Museum of Art, September 26, 2005.

Gunalan Nadarajan, “History of New Media,” Graduate Students Guest Lecture, Zoller Café, October 6, 2005.

Donald Kunze, “Language Boundary,” Graduate Students Guest Lecture, Zoller Café, November 3, 2005.

Charles Garoian Performance and Talk “Hyper/Ventilation”, December 1, 2005.

Pablo Helguera’s lecture, Palmer Museum of Art March 28, 2006.

ORGANIZATION OF EXHIBITIONS AND OTHER EVENTS

Inter course, a collaborative graduate student exhibition, Zoller Gallery, Penn State University, University Park, PA, December 2001.

Co-organizer, curriculum development, recruitment, and student preparation for the study abroad program in Brazil: “Sustainable Urban Design and Community-Based Resource Management.” US-Brazil Higher Education Consortium, Penn State Hamer Center for Community Design Assistance, University Park, PA, (with Michael Rios and Carlos Rosas), 2003.

Trip to New York City for School of Visual Arts and Art History students, January 26, 2003.

Co-organizer of the Halloween Masquerade for the A&A CORE Program, Fall 2005.

Co-organizer of the College Study Abroad Exhibition at the Woskob Family Gallery in Penn State's Downtown Theatre, April 2005.

Co-organizer of the Film Series for the A&A CORE curriculum, Fall 2005.

GUEST LECTURES AND ROUND-TABLE DISCUSSIONS IN THE COLLEGE OF A&A

“International Perspectives on Art Education and Visual Culture,” round table, Fall Graduate Colloquium, The Art Education Program, School of Visual Arts, Penn State University, University Park, PA, November 4, 2002.

“Contemporary Brazilian Visual Culture,” lecture in the Department of Art History, College of Arts & Architecture, University Park, PA, March 11, 2002.

“Site Specific Art in Latin America,” lecture in the Department of Landscape Architecture, University Park, PA, March 20, 2003.

“Relations Between Art and Culture,” lecture in the Department of Art History, University Park, PA, November 3, 2004.

“Painting and Globalization: The Carnegie International and the São Paulo Biennial,” round table discussion in the Painting department of the School of Visual Arts, University Park, PA, November 16, 2004.

“The Philosophy of Samba and Other Body-centered Metaphors in Brazilian Art,” lecture in the CORE Theory Course, College of A&A, Fall 2005.



“Lygia Clark and Hélio Oiticica: Rethinking the Object and Challenging the Institution in the 60s and 70s,” lecture in the Department of Landscape Architecture, Oct. 18, 2005.

“The Philosophy of Samba: Poetics and Politics of Brazilian Art and Culture,” lecture in the Department of Art History, Spring 2005.

“Lygia Clark and Hélio Oiticica: An Introduction to Their Artistic Trajectories in the 1960s-70s,” lecture in the Department of Art History, March 16, 2005.

“Utopia and Negative Aesthetics,” lecture in the CORE Theory Course, College of A&A, Feb. 8, 2006.

JURY

Bruce Shobaken Endowed Award for the Printmaking Area, School of Visual Arts, University Park, PA, 2003.

Performance Option of the Nineteenth Annual Graduate Exhibition, Esber Recital Hall, Music Building, Penn State Graduate School, University Park, PA, 2004.

Performance Option of the Nineteenth Annual Graduate Exhibition, Esber Recital Hall, Music Building, Penn State Graduate School, University Park, PA, 2005.

COMMITTEES

University-wide Commission for Racial and Ethnic Diversity (CORED), 2004-08

College of Art & Architecture, Academic Integrity Committee, 2001-2002

College of Arts and Architecture, International Arts Minor Committee, 2004-05

School of Visual Arts Awards Committee, 2004-05

School of Visual Arts Undergraduate Curriculum Committee 2004-06

School of Visual Arts Studio Graduate Program Committee 2004-06

School of Visual Arts John M. Anderson Visiting Artist/Scholar Committee 2005-07

College of Arts & Architecture Critical Theory Group, 2004-06

1997	USIS Traveling Grant to lecture at the Universidade Federal do Rio Grande do Sul, Porto Alegre, Brazil.
1991	Awarded a grant by The Partners of The Americas Organization (Assistance Funds for Cultural Projects).
1990	47º Salão Paranaense, Museum of Contemporary Art of Paraná, Curitiba, Brazil. Acquisition Prize.
1987	Salão de Arte Contemporânea de Pernambuco, edição 87, Recife, Brazil, 1987. Honorable Mention.

Cyriaco Lopes	Master of Fine Arts, April 2002	Visual Arts, UMBC
Jitesh Malik	Master of Fine Arts, Nov. 2002	School Visual Arts, PSU
Jenny Rogers	Master of Fine Arts, May 2003	School Visual Arts, PSU
Jodi Brown	Master of Fine Arts, May 2003	School Visual Arts, PSU
Adriana Silva Cabral	Master of Arts, Nov. 2003	University of Brasília
Jennifer Hines	Master of Fine Arts, May 2004	School Visual Arts, PSU
Joo Yeon Woo	Master of Fine Arts, May 2005	School Visual Arts, PSU
Anna Divinsky	Master of Fine Arts, May 2005	School Visual Arts, PSU
Mihail Tomescu	Master of Fine Arts, May 2005	School Visual Arts, PSU
Hagit Barkai	Master of Fine Arts, May 2007	School Visual Arts, PSU
Jonathan Kline	Master of Fine Arts, May 2007	School Visual Arts, PSU
Benjamin A. Fehl	Master of Fine Arts, May 2007	School Visual Arts, PSU

Ilenia Colón Mendoza	Ph.D. Candidate, November 2004	Art History
Adetty Pérez Miles	Ph.D. Candidate, December 2004	Art Education

Jennifer H. Noonan	Ph.D. Candidate, Jan. 2003	Art History
Ilenia Colón Mendoza	Ph.D. Candidate, Nov. 2004	Art History
Adetty Pérez Miles	Ph.D. Candidate, Dec. 2005	Art Education