https://orcid.org/0000-0002-5605-5233
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ABSTRACT
Eight responses, from India, Canada, the US, and Australia, highlight pedagogical issues that are raised in the essay ‘Integrated Foundation Studio and Art History at the School of the Art Institute of Chicago’. The comments includes questions of practicability, history of pedagogy, similar initiatives, and philosophic assumptions.
Additional information
Notes on contributors
S. F. Kislev
S. F. Kislev heads the multidisciplinary school of art at Shenkar college of Engineering, Design and Art. He is an artist, a scholar in the history of philosophy, and a games enthusiast. His book – ‘Hexagonal Lobes and Other Riddles’, was published in 2022, and he has recently exhibited an artwork in outer space.
Yanai Toister
Yanai Toister is an artist, writer, and educator serving as Associate Professor at Shenkar College of Engineering, Design and Art in Tel Aviv (where he also chaired the unit for History and Philosophy between 2017–2022). Toister’s artworks have been exhibited in numerous exhibitions (including: Sandroni.Rey; Dvir Gallery; Kunstahalle Luzern; Bolsky Gallery, Otis College of Art and Design; Maison Europèenne de la Photographie; the 11th International Architecture Exhibition at the Venice Biennale; Kunstmuseen Krefeld, Haus Lange; Israel Museum). Toister’s scholarly writing has been published in various books and journals (including: Digital Creativity; Flusser Studies; Journal of Science and Technology of the Arts; Philosophy of Photography; Photographies; Ubiquity). Toister’s book Photography from the Turin Shroud to the Turing Machine was published by Intellect/University of Chicago Press.
Matthew C. Hunter
Matthew C. Hunter teaches in the Department of Art History and Communication Studies at McGill University. Trained in studio art, Hunter researches visual art and architecture of the long eighteenth century, with particular emphasis on their interactions with science and technology. His publications include Painting with Fire: Sir Joshua Reynolds, Photography and the Temporally Evolving Chemical Object (University of Chicago Press, 2019) and Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London (University of Chicago Press, 2013). He is an editor of Grey Room.
Mark Piucci
Mark Piucci is a retired teacher and artist, with exhibitions at Miami Artworks, curated by Michael and Joanna (2020), Northeastern Pioneer College while teaching on the Navajo Reservation; Phoenix Art Link (1990–2010), Stone Park Italian Cultural Center and Festa Italiano (1987), Chicago Heights Radio Talk Show with Dominic Candeloro (1986), Peace Corps, Niger (1981–1985), Government Art Studio at Cultural Center, Oumarou Ganda (1981). A first exhibit at an Aurora Art Center with two other artists and another at Hubbard Street which is now some sort of restaurant/ bar.
Clare McCracken
Clare McCracken is a site-responsive artist, early-career researcher and the coordinator of Art History, Theory and Cultures at RMIT University in Naarm/Melbourne. Her practice-led research sits at the intersection of art, human geography and urban theory. She employs innovative, performance methodologies to research how mobility systems coproduce space, place and landscape across generations in Australia. Recent publications include Liminality When Grounded: Micro-mobilities in contemporary art practice during the COVID-19 pandemic (2024) and Killing Snowmen: Big Things and Rural Australia’s Existential Crises (2022).
Lucia Fagen-DeLuca
Lucia Fagen-DeLuca teaches under her matriarchal art name at California College of the Arts and her given name at San Francisco State University. Trained as an art historian of medieval Indian Art and Architecture, she is the author of The Hegemony of Heritage: Ritual and the Record in Stone (UC Press 2018; Mapin 2019). She has lectured internationally in Hindi, French, and English and is the author of several peer-reviewed articles. She is also a practicing ceramics artist in San Francisco, where she shows her work and makes art in multiple collectives. Her work will be included in the first California Jewish Open at the Contemporary Jewish Art Museum in San Francisco under her Hebrew name. Recently she has collaborated with the Auroville Film Institute as part of her international think tank, the Université Imaginaire. The author is grateful for the friendship of Jamilla Moore who encouraged her to write her truth in honor of Moore’s niece and all the others who may follow us someday. Contact Lucia Fagen-DeLuca at [email protected] to learn more about her forthcoming studio/theory hybrid textbook for art schools.
Sarah Magnatta
Sarah Magnatta is an assistant professor of global contemporary art and museum studies at the University of Denver. She has curated several exhibitions, including Tenzing Rigdol: My World Is in Your Blind Spot (2018) and Gonkar Gyatso: Intimacy and Immediacy (2023). Her essays and artist interviews can be found in Art Journal, Journal of Aesthetics and Culture, the Routledge Handbook of Asian Transnationalism, and Yeshe: A Journal of Tibetan Literature, Arts and Humanities. Her current book project explores contemporary art of the Tibetan diaspora.
Anna Tahinci
Anna Tahinci is Professor of Art History at the Glassell School of Art at the Museum of Fine Arts Houston. A native of Greece, she studied History and Archaeology in Athens, and spent a total of eleven years in Paris, where she studied Art History and Comparative Literature at the Sorbonne (Ph.D. on Rodin’s collectors), and Museum Studies at the Ecole du Louvre. She has worked at the Musée Rodin, the Musée d’Orsay, the Louvre and the Harvard Art Museums. She has taught at Boston University Paris, at the University of Minnesota, at Macalester College, and at the Minneapolis College of Art and Design. She co-curated the sculpture exhibition that was organized in Athens for the Olympic Games in 2004 and the exhibition Rodin and America at the Cantor Arts Center, Stanford University in 2011. She teaches a wide range of Art History courses from cave to contemporary in conjunction with the MFAH permanent collection and temporary exhibitions. In addition to nineteenth and twentieth century Art History, French Literature and Culture, her research interests and publications include Women in Art, Collectors and History of Taste, Comparative Literature and Ancient Greek Mythology, Paris in Literature and the Arts, French Museums and Globalization, and Public Art. Since 2016 she has been leading the Glassell School’s Study Abroad Program, bringing students to her hometowns of Athens and Paris for ‘behind the scenes’ visits to museums and sites.
Marion S. Lee
Marion S. Lee teaches visual culture/art history in the School of Art + Design, Ohio University. A current area of research interest is nineteenth-century China, located in a global perspective.