The Department of Fine and Performing Arts Faculty
Location: NVC 7-223
Anne Swartz (Ph.D., University of Pittsburgh), is professor of music at Baruch College and The Graduate Center of the City University of New York. Her research interests include Russian and Polish romanticism, especially the music of Chopin, Tchaikovsky and Szymanowska; eighteenth-century women composers; and Russian piano history. She is currently teaching Music of the Romantic Era, Music of the Twentieth Century, and Music in Civilization at Baruch.
Her course offerings at the Graduate Center for the PhD program in music include Russian Romanticism, and Tchaikovsky, Balakirev, and Rimsky-Korsakov: Tradition, Myth, and Modernity. In 2001 she helped launch and also taught the seminar, The Arts in New York, for the CUNY Honors College, now the Macaulay Honors College. She was the recipient of Baruch’s 2001 Presidential Excellence Award for Distinguished Teaching and formerly served as Director of Graduate Studies for the Weissman School of Arts and Sciences. She has presented papers in Russian and Polish at international conferences held at St. Petersburg University and the University of Warsaw, and she continues to conduct archival research in Poland and Russia. She has received grants and fellowships from the Kennan Institute and the East European Program of the Woodrow Wilson International Center for Scholars, the National Endowment for the Humanities, the American Council of Learned Societies, the International Research and Exchanges Board, and the Andrew W. Mellon Foundation.
Her recent study, A Elsner, Chopin, and Musical Narrative as Symbols of Nation, was selected for publication in a refereed anthology, Fifty Years of Polish Scholarship (New York, 2006), as a pioneering work on music, language and national identity. She is the author of a critical edition, Women Composers: Music Through the Ages: Women Born Between 1700 and 1799, Maria Szymanowska (London, 1998); musical editions of selected works from Szymanowska’s Vingt exercices et préludes, Dix-huit Danses, Six Menuets, Polonaise and Trio (Bryn Mawr, 2004); and chapters in The Yearbook of the Azerbaijan National Academy of Sciences (Baku, 2005), Encomium Musicae: Essays in Honor of Robert J. Snow (New York, 2002), Tchaikovsky and his Contemporaries: A Centennial Symposium (London, 1999), and Chopin Studies 2 (Cambridge, 1994). She has authored numerous articles on Russian and Polish romanticism and modernism in professional journals, including, The Journal of Musicological Research, Slavica occitania, Studia Musicologica Academiae Scientiarum Hungaricae, Revue de Musicologie, New Journal for Music, The Polish Review, Fontis artis musicae, Cahiers du Monde Russe, and Australian Slavonic and East European Studies; and review essays in Current Musicology, American Music, The Russian Review, Russian History, The Slavic Review, The American Historical Review, and other such professional journals.
She recently presented papers at two major conferences celebrating the 300th anniversary of the founding of St. Petersburg held at the Harriman Institute of Columbia University and the Kennan Institute of the Woodrow Wilson International Center for Scholars.
Location: NVC 7-224
Abby Anderton is an Assistant Professor of Music in the Fine and Performing Arts Department.
Before coming to Baruch, she taught at Providence College and served as the Concert Manager at the Isabella Stewart Gardner Museum in Boston. Professor Anderton’s research explores the cultural denazification and re-education programs of the American Military Government in postwar Berlin, focusing on the experience of musicians under tyranny and occupation. Her work has appeared in Music Research Forum, and her research has been supported by the Fulbright Commission, the Germanistic Society of America, and the Deutscher Akademischer Austauschdienst (DAAD). Professor Anderton is currently at work on a book entitled Music among the Ruins: Classical Music, Propaganda, and the American Cultural Agenda in Berlin. She received her Ph.D. in Historical Musicology from the University of Michigan.
Most recent or current research:
I am currently researching the musical culture of Displaced Persons Camps in postwar Germany, exploring performative rejections of victimization by Holocaust survivors who concertized while still wearing their concentration camp uniforms. My work also looks at the cultural denazification and re-education programs of the American Military Government in post-World War II Germany, and the culpability of musicians under tyranny and occupation.
Subject Matter Expertise (topics):
-Postwar German Musical Culture
-Music and Politics
-20th Century German Art Music
Degrees (with institution):
-Bucknell University, BA (In English and Music), Awarded May 2006
-Humboldt Universität, Berlin, Guest Student, 2011-2012
-University of Michigan, Ph.D. in Historical Musicology, Awarded August 2012
Affiliations (boards, organizations):
-A Member of the American Musicological Society
-A Member of the German Studies Association
Most recent publications (articles and/books) or exhibitions
-Forthcoming article in Music and Politics Online entitled, “‘It was never a Nazi Orchestra’: The American Re-education of the Berlin Philharmonic”
-My research has also appeared in Music Research Forum
-I am currently at work on a book entitled Denazifying Beethoven: Classical Music, Propaganda, and the American Cultural Agenda in Berlin
Location: NVC 7-232
Katherine Behar is an interdisciplinary artist and critical theorist of new media and is Associate Professor of New Media Arts at Baruch College and The Graduate Center of the City University of New York. Prof. Behar’s work explores digital culture through feminism and materialism. Her artwork spans interactive installation, performance art, public art, photography and video art. She is known for projects that mix low and high technologies, creating hybrid forms that are by turns humorous and sensuous.
Prof. Behar’s work has been exhibited nationally and internationally and is held in private collections. Her survey exhibition and catalog, Katherine Behar: Data’s Entry | Veri Girişi, was presented in 2016 at the Pera Museum in Istanbul, Turkey, documenting eight years’ of her work. Framingham State University presented her solo exhibition Katherine Behar: Backups in 2019. Her 2018 solo exhibition Katherine Behar: Anonymous Autonomous was presented by Robert Morris University. A previous solo exhibition, Katherine Behar: E-Waste, premiered with catalog at University of Kentucky in 2014, and traveled to Boston Cyberarts Gallery in 2015. Additional recent venues include Judson Memorial Church in New York, SPRING/BREAK Art Show in New York, Leubsdorf Gallery in New York, Wassaic Project in New York, Lesley Heller Workspace in New York, the Chicago Cultural Center in Chicago, Sector 2337 in Chicago, The Alice in Seattle, Moscow Biennial Special Projects in Moscow, Russia; De Balie Centre for Culture and Politics in Amsterdam, Netherlands; CamouFlash in Dresden, Germany; the Digital Live Art Festival in Leeds, England; PostsovkhoZ 6 in Mooste, Estonia; Galata Perform in Istanbul, Turkey; the National Museum of Art in Cluj-Napoca, Romania; and numerous others.
Prof. Behar writes and lectures widely on object-oriented feminism, technologized labor, cyborgian ethics, feminist media critique, and decelerationist aesthetics. She coined the term “object-oriented feminism” (OOF) in 2010. She is the editor of Object-Oriented Feminism (University of Minnesota Press), the coeditor with Emmy Mikelson of And Another Thing: Nonanthropocentrism and Art (punctum books), and the author of Bigger than You: Big Data and Obesity (punctum books). Her exhibition catalogues include Katherine Behar: Data’s Entry | Veri Girişi (Pera Museum, 2016) and Katherine Behar: E-Waste (Tuska Center for Contemporary Art, 2014). Additional writing has been published in books including After the “Speculative Turn”: Realism, Philosophy, and Feminism, Why Look at Plants? The Botanical Emergence in Contemporary Art, and Imperceptibly and Slowly Opening; in journals including Chiasma, Lateral, Media-N, Parsons Journal for Information Mapping, Visual Communication Quarterly, EXTENSIONS: The Online Journal for Embodied Technology; and in conference proceedings for Digital Arts and Culture, SPIE, and Cyberworlds.
Prof. Behar’s ongoing project, Disorientalism, is a decade-long multimedia performance art collaboration with Arizona-based artist Marianne M. Kim. Disorientalism studies the disorienting effects of technologized labor, junk culture, and consumerism. Using live performance, video, and photographic projects, Disorientalism explores how these forces mediate race, gender, and bodies. Disorientalism has presented numerous solo exhibitions and performances at venues including Museum of Contemporary Art, North Miami, Artspace West at Arizona State University, Rapid Pulse Festival, TECHNE at University at Buffalo, and Feldman Gallery + Project Space at Pacific Northwest College of Art, among others. Notable group exhibitions include: de la Cruz Collection, Poznan Biennial, Wassaic Project, Katherine Nash Gallery, Radiator Arts, and video_dumbo. Disorientalism attended residencies at The MacDowell Colony, Wassaic Project, and Cannonball.
Behar is the recipient of fellowships and residencies from Santa Fe Art Institute (2020), Institute for Research on Women and Gender at the University of Michigan (2019), Nida Art Colony (2018), The MacDowell Colony (2017, 2013), Pioneer Works Tech Lab (2017), Art Journal (2010-2013), and the Rubin Museum of Art (2011). Her artwork has been supported by grants and awards from the U.S. Consulate General in Leipzig, the Franklin Furnace Fund, the Illinois Arts Council, and the Cleveland Performance Art Festival. Additionally, she has received research funding and academic grants from PSC-CUNY, Arizona State University, Baruch College, New York University, and the School of the Art Institute of Chicago, as well as a sub-award from the National Science Foundation.
Prof. Behar is Deputy Chair of Art in the Fine and Performing Arts Department and runs the New Media Arts undergraduate minor and teaches studio courses in video art and exhibition practices at Baruch College. She manages and curates at the New Media Artspace, a teaching exhibition space located in Baruch’s Newman Library. At The Graduate Center, Prof. Behar is the Deputy Director of the M.S. Program in Data Analysis and Visualization and teaches courses on data, culture, and society.
MFA, Hunter College, City University of New York, 2009
MA, New York University, 2006
BFA, School of the Art Institute of Chicago, 2000
Location: NVC 7-234
Terry Berkowitz (MFA, School of the Art Institute of Chicago) is Professor of Art at Baruch College. A visual artist whose work is based on social and political issues, Terry Berkowitz produces single-channel videos and mixed media installations that include video, sound, and objects.
She has had one-person exhibitions at, among other places, the Whitney Museum of American Art, New York; the Contemporary Arts Museum, Houston; and Metrònom, Barcelona. She has also been included in many group exhibitions in the US and abroad including Emap, Seoul, Korea; Dislocations/Transitions, the Cleveland Center for Contemporary Art, Ohio; and Construction in Process, Lodz, Poland and El Sueno Imperativo, Madrid, Spain. Her work has been reviewed internationally in magazines and newspapers including Art Forum, The Village Voice, Art News, and Tema Celeste.
Prof. Berkowitz is a Fulbright Fellow and recipient of grants and awards from, among other sources, the National Endowment for the Arts and the Jerome Foundation, and has been a fellow at the Macdowell Colony for the Arts. Her graphic design work has been recognized by the Art Directors’ Club of New York and the American Institute of Graphic Arts (AIGA), where one of her book covers was chosen for the annual exhibition, 50 Books/50 Covers. She has designed and produced corporate identity systems, catalogues, books, posters, and journals for a wide range of clients such as: the International Center of Photography, New York; List Visual Arts Center, MIT; Venue, an international literary magazine; the Arizona State University Museum, Tempe, Arizona; and Other Books, NY.
Location: NVC 7-229
Debra Caplan is an Associate Professor of Theatre specializing in world theater, Yiddish theater and drama, theatrical travel and Jewish performance culture. Her book, Yiddish Empire: The Vilna Troupe, Jewish Theater, and the Art of Itinerancy, was published by University of Michigan Press in 2018. Her writing has also appeared in Theatre Journal, Theatre Survey, Modern Drama, Comparative Drama, Aschkenas, New England Theatre Journal, Performance Research, Pakn Treger, and American Theatre Magazine.
Professor Caplan is the co-founder of the Digital Yiddish Theater Project (www.yiddishstage.org), an interdisciplinary initiative to develop a digital portal for Yiddish theater.
She is currently working on a new biography of the Yiddish actress Molly Picon.
Subject Matter Expertise (topics):
Modernist drama and theater
Dramatic translation and adaptation
Degrees (with institution)
Ph.D., Near Eastern Languages and Civilizations, Harvard University
B.A. Hampshire College
Affiliations (boards, organizations)
Board Member, Yiddish Book Center
Board Member and former Executive Director, Mellon School of Theater and Performance
Research at Harvard University
Co-Founder, Digital Yiddish Theater Project
American Society for Theatre Research
Association for Theatre in Higher Education
American Theatre and Drama Society
Association for Jewish Studies
Modern Language Association
American Comparative Literature Association
Theodore Gordon is an Assistant Professor of Music in the Department of Fine and Performing Arts.
Dr. Gordon is a musicologist and musician whose work connects experimental music, critical organology, and science & technology. His current book project, The Composer’s Black Box: Cybernetics & Instrumentality in Post-War American Music, shows how scientific concepts and technologies borrowed from cybernetics, information theory, and systems-thinking became catalysts for new musical organizations—of practices, processes, and bodies. His research has been supported by the New York Public Library, and his writing has been published by Current Musicology, Portable Gray, the Library of Congress, the American Musicological Association, and Cultural Anthropology. He has written program and liner notes for Unseen Worlds, and contributed exhibition texts for the 2019 exhibition Sounding Circuits at the New York Public Library for the Performing Arts. He performs and improvises with the viola and the Buchla Music Easel.
Before teaching at Baruch, Dr. Gordon was a Mellon Postdoctoral Fellow at Columbia University, where he was also a Visiting Researcher at the Computer Music Center.
Subject Areas of Expertise:
American music; experimental music; popular music; critical organology; science & technology studies; queer theory; feminist theory; psychoanalytic theory
PhD, History and Theory of Music, University of Chicago
MA, History and Theory of Music, University of Chicago
BA, Humanities, Yale University
Location: NVC 7-222
Eric Krebs (MA, Rutgers University) is the founder and artistic director of the Off-Broadway John Houseman and Douglas Fairbanks theaters. His New York producing credits include It Ain’t Nothin’ But the Blues, at Lincoln Center (which won four Tony Award nominations); BASH; the critically acclaimed production of Electra, starring Zoë Wanamaker; The Broadway Kids Sing Broadway; Capitol Steps; The Passion of Dracula; Fool for Love; and Paul Robeson.
Krebs also produced Geoffrey Ewing’s Ali, the biography of Muhammad Ali, which was featured at the 1996 Olympic Games in Atlanta and at the Mermaid Theater in London. He founded and for 14 years was the producing director of the George Street Playhouse in New Brunswick, NJ.
Location: NVC 7-218
Philip Lambert (PhD, Eastman School of Music of the University of Rochester) is Professor of Music at Baruch College and the Graduate Center of CUNY. He has also taught at Yale University and the Eastman School of Music. He is a music theorist specializing in music of the twentieth century, with research interests that include the music of Charles Ives, music of Brian Wilson, musical theater of Jerry Bock and Sheldon Harnick, music of Alec Wilder, theories of musical transformation such as those pioneered by David Lewin, and musical representations of cosmic themes. He is author of The Music of Charles Ives (Yale University Press, 1997), Inside the Music of Brian Wilson (Continuum, 2007), To Broadway, To Life! The Musical Theater of Bock and Harnick (Oxford University Press, 2011), and Alec Wilder (University of Illinois Press, 2013). He is editor of, and contributor to, the multi-author essay collections Ives Studies (Cambridge University Press, 1997), and Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective (University of Michigan Press, 2016), and contributor to Charles Ives and the Classical Tradition (Yale University Press, 1996). He is also author of the textbook in music fundamentals, Principles of Music (second edition, Oxford University Press, 2018), and the textbook in post-tonal music theory, Basic Post-Tonal Theory and Analysis (Oxford University Press, 2019).
His articles on topics in twentieth-century music have appeared in Music Theory Spectrum, Music Analysis, Journal of Music Theory, Perspectives of New Music, Twentieth-Century Music, American Music, Intégral, and Journal of Musicological Research. He was editor of Theory & Practice volumes 19–21 (1994–1996), and Music Theory Spectrum volumes 20–22 (1998–2000).
Location: NVC 7-221
Gail Levin (PhD, Rutgers University) is Professor of Art History, American Studies, and Women Studies at Baruch College and the Graduate Center of CUNY. She is an art historian specializing in art of the twentieth and twenty-first centuries, with diverse research interests that include the work of Edward Hopper, Marsden Hartley, Yasuo Kuniyoshi, Judy Chicago, women artists, Jewish artists, Chinese emigre artists, and contemporary art of the United States, Europe, and Japan, as well as American Studies and the cinema. Her most recent book is Becoming Judy Chicago: A Biography of the Artist, (New York, Harmony Books, February 2007 ).
Previous books include: Aaron Copland’s America, co-authored with Judith Tick, (New York: Watson-Guptill Publications, 2000); Edward Hopper: An Intimate Biography (New York: Alfred A. Knopf, 1995; Munich: Paul List Verlag, 1998, second expanded edition, Rizzoli, 2007); Edward Hopper: A Catalogue Raisonne [3 vols. and CD-ROM] (New York and London: Norton, 1995; 2006 Munich: Schirmer/Mosel, 1995); Theme and Variation: Kandinsky and the American Avant-garde, 1912-1950 (Boston: Bullfinch Press, 1992); Marsden Hartley in Bavaria (Hanover, N. H.: University Press of New England, 1989); Twentieth-Century American Painting: The Thyssen-Bornemisza Collection (New York: Sotheby Publications, 1987; New York: Harper & Row, 1988); Hopper’s Places (New York: Alfred A. Knopf, 1985); Edward Hopper (New York: Crown Publishers, 1984; Paris: Flammarion, 1985; Munich: Sudwest-Verlag, 1986); Edward Hopper: Gli anni della formazione (Milan: Electra Editrice, 1981); Edward Hopper: The Art and the Artist (New York: Norton, 1980, London, 1981; Munich: Schirmer/Mosel, 1986); Edward Hopper as Illustrator (New York: Norton, 1979, London, 1980]; Edward Hopper: The Complete Prints (New York: Norton, 1979 ,London, 1980; Munich: Schirmer/Mosel, 1986); Abstract Expressionism: The Formative Years, co-authored with Robert C. Hobbs (New York: Whitney Museum of American Art, 1978; Tokyo: Seibu Museum of Art, 1978; Ithaca: Cornell University Press, 1981); Synchromism and American Color Abstraction, 1910-1925 (New York: George Braziller, 1978).
Levin is co-editor (with Elaine A. King) and a contributor to the anthology Ethics and the Visual Arts, (New York: Allworth Press, 2006.) She is editor of The Poetry of Solitude: A Tribute to Edward Hopper (New York: Universe Books, 1995, 2007 and as La Poesia del Silenzio, Milano, 1997), and of Silent Places: A Tribute to Edward Hopper (New York: Universe Books, 2002).
Levin has recently contributed these essays to books: “Modern and Postmodern Art and Architecture,” in A Companion to the Classical Tradition, Craig Kallendorf, ed., Oxford, U. K.: Blackwells Publishing, 2007.; “From the New York Avant-garde to Mexican Modernists: Aaron Copland and the Visual Arts,” in Carol J. Oja and Judith Tick, eds., Aaron Copland and his World, Princeton University Press, 2005; “Judy Chicago in the 1960s,” in Avital Bloch and Lauri Umansky, eds., Impossible to Hold: Women and Culture in the 1960s, New York University Press, 2005; “Writing about Forgotten Women Artists: The Rediscovery of Jo Nivison Hopper,” in Kristen Fredrickson and Sarah E. Webb, Singular Women: Writing the Lives of Women Artists (Berkeley: University of California Press, 2003).
Levin’s work has been published in more than a dozen countries, including essays in museum catalogues and such journals as American Art Review, Archives of American Art Journal, Arte y Parte (Spain), Art Journal, Art News, Arts Magazine, Art Research (Japan), Asian Art News (Hong Kong), Bijutsu Techo (Japan), Biography and Source Studies, BolaffiArte (Italy), Criticism, Dada and Surrealism, Du (Switzerland), Jong Holland (The Netherlands), Journal of Modern Jewish Studies (United Kingdom), Museum Studies, RACAR (Canada), Woman’s Art Journal, Women in the Arts, and The Yale University Library Gazette. She has also written reviews and essays for such journals as The New York Times, London Review of Books, The Los Angeles Times, Art Journal, Latino (a) Research Review, and Smithsonian Magazine.
Levin’s work has been supported by many grants including those from the National Endowment for the Humanities, the American Council of Learned Societies, the Rockefeller, Sloan, and Andrew W. Mellon Foundations, Harvard, Yale, and Brandeis Universities, the Fulbright Commission, and currently, the Pollock-Krasner/Stony Brook Foundation. Her work has been recognized with awards including an Honorary Doctorate from Simmons College in 1996.
Her photographs are included in the collections of the High Museum of Art, Atlanta, Georgia; The Pollock-Krasner House, and Study Center of the Stony Brook Foundation of the State University of New York in East Hampton, NY; and the Center for Photography, Woodstock, New York. Her photographs have appeared in books, magazines, and newspapers, including The Los Angeles Times and The New York Times. She is a member and past president of the Catalogue Raisonne Scholars Association, an affiliate of the College Art Association.
Additional information is available in current editions of Who’s Who in America, Who’s Who in American Women, and Who’s Who in American Art.
Location: NVC 7-235
John V. Maciuika, Ph.D., University of California, Berkeley, History of Architecture (1998)
B.A., University of Pennsylvania, European History (1987).
John Maciuika specializes in the history of architecture and design from the nineteenth century to the present. He teaches art history survey courses as well as advanced undergraduate and graduate courses on the history of architecture, urbanism, design, and the applied arts at both Baruch College and the CUNY Graduate Center Ph.D. program in art history. His teaching and research emphasize such issues as architecture and new media in the twenty-first century; the shifting of historical narratives of the “modern” over time in architecture and design; the sociology of the art, architectural, and design professions; the cultural politics of architecture in particular national settings, especially (to date) in Germany, Austria, the former Soviet Union, and the Baltic States; and the impact that broader social, economic, and cultural processes have on the design fields. He holds a B.A. with honors in European History from the University of Pennsylvania and a Ph.D. in Architecture from the University of California, Berkeley.
Professor Maciuika’s 2005 book, Before the Bauhaus: Architecture, Politics, and the German State, 1890-1919, was published by Cambridge University Press; Before the Bauhaus is currently being translated into Japanese by the Sangen-Sha academic press of Tokyo. A second book entitled Schlossplatz: Architecture and Politics in Berlin’s Castle Square is currently underway, as is an edited collection entitled Global Forces, Local Modernities: Modern Architecture in Cultural Context.
Professor Maciuika is editor for architecture and urbanism at the website “Hypermedia Berlin,” a multimedia research platform (www.berlin.ucla.edu), and is book review editor for modern architecture for the Journal of the Society of Architectural Historians. He has lectured on his research at numerous locations in the United States and abroad; in 2008 he lectured at the School of Architecture of the Izmir University of Economics in Izmir, Turkey, and at the Conference of the International Sociological Association in Barcelona, Spain.
Professor Maciuika is currently serving as the alumni president of the American Friends of the Alexander von Humboldt Foundation; president of the New York Metropolitan Chapter of the Society of Architectural Historians; and as a book review editor for modern architecture for the Journal of the Society of Architectural Historians. In 2009-2010 Professor Maciuika is scheduled to deliver guest lectures in Berlin, Germany, and Krakow, Poland.
More details can be found at: http://faculty.baruch.cuny.edu/jmaciuika/
Location: NVC 7-234
David Milch joined the Baruch faculty in the fall of 2018 as Distinguished Lecturer and Director of the MA in Arts Administration. Prior to this, David was the Director of NYIT’s graduate program in Leadership in the Arts and Entertainment Industries (LAEI) in association with Nederlander Worldwide Entertainment LLC in Manhattan. David has an extensive background in performing arts management as well as higher education administration and programming.
David held a nine year tenure at Columbia University where he led a wide range of co-curricular performing arts programs for the undergraduate population, including creating a residency program which hosted artists such as Young Jean Lee’s Theater Company, Daniel Fish, Okqui Okpokwasilli and The Assembly Theater.
David also assisted in the creation of the groundbreaking Institute for Curatorial Practice in Performance (ICPP) at Wesleyan University, and served as its Program Coordinator for four years. David has taught in programs at Brandeis University, Wesleyan University and the Jewish Theological Seminary among others. Outside of higher education, David has worked with wide range of arts organizations and in a variety of positions including Production Manager at Jacob’s Pillow Dance Festival, Programming Associate at The New York International Festival of the Arts, and Director of his own company, Relatively Theater. As a freelance artist and producer, he worked with several companies, most notably as the Choreographer and Assistant Director for Bang on a Can’s “Lost Objects” at the Brooklyn Academy of Music.
David has presented on supporting the creation of an artist identity at the NYU Student Affairs Conference and is a member of the Association of Theater in Higher Education and the Association of Arts Administration Educators. He sits on the Board of The Assembly Theater and holds a BA in Theater from Wesleyan University and an MFA in Theater Directing from UCLA.
Location: NVC 7-235
David Olan (DMA, Columbia University) is Professor of Music at Baruch College and at the Graduate Center of CUNY, where he coordinates the doctoral program in musical composition. He has composed orchestral, chamber, vocal, and electronic music that has been performed widely in the U. S., Europe, and Japan. He has been commissioned and performed by such organizations as the American Composers Orchestra, Parnassus, the New Jersey Percussion Ensemble, and the New Music Consort. Among his awards are Guggenheim, NEA, CAPS, and NYFA Fellowships, and a commission from the Serge Koussevitsky Foundation in the Library of Congress. His work is recorded on the CRI, New World, and OWL labels.
Sarah Saddler is an Assistant Professor of Theatre in the Department of Fine and Performing Arts.
Sarah (PhD Theatre Historiography, University of Minnesota) is a performance studies scholar and applied theatre educator whose work investigates the role of theatre and performance in the transnational professional economy. Her current book project, Performing Corporate Bodies: Multinational Theatre in Global India, is an ethnography of theatre-based workplace training in corporate India, where she conducted research with corporations, training consultancies, theatre groups, business schools, and artists and activists from 2012-2019. Working at the crossroads of theatre and performance, cultural and business anthropology, and social sciences research on cultural dimensions of globalized capitalism, Performing Corporate Bodies illustrates how the world’s leading companies deploy drama for human capital formation, and illustrates the broader impacts corporate theatre has on nation branding, neoliberal agency and subjectivity, and postcolonial arts praxis in contemporary urban India.
Sarah’s research has been supported by organizations including the Andrew W. Mellon Foundation, the United States Department of Education, the American Society for Theatre Research, and the American Institute for Indian Studies. Her past research residencies include fellowships at the Institute of Advanced Study at the University of Minnesota in the United States, the National Institute of Advanced Study in Bangalore, India, and the Center for Arts and Humanities at the American University of Beirut, Lebanon. Her recent published work can be seen in RIDE: The Journal of Applied Theatre and Performance (2017), AGITATE! (2019), and TDR: The Drama Review (2020), and she is currently working on a contribution to the Routledge PERFORM Series on “Alternative Careers in the Performing Arts” (forthcoming 2021).
Prior to joining Baruch, Sarah was a Mellon Postdoctoral Fellow at the American University of Beirut. She also spent several years advancing arts-based social justice pedagogy and project management throughout the Twin Cities public school system with Equity Alliance MN.
Subject Areas of Expertise:
World theatre history; applied theatre; performance theory; global studies; capitalism and subjectivity; arts leadership and management; arts training and pedagogy
PhD, University of Minnesota, 2019
MA, Miami University, 2013
BA, Ashland University, 2011
Zoë Sheehan Saldaña (MFA, Rochester Institute of Technology, Rochester, New York) is a Professor of Art at Baruch College. She completed her undergraduate degree at Oberlin College in Oberlin, Ohio, and studied at the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. Her work has been exhibited in the United States and internationally.
Her art considers what it means to make something by hand in the contemporary moment. She fabricates handmade duplicates of typically mass-produced objects, and then deploys her creations in various environments. The scent of generosity that pervades her work often carries a whiff of guile. Sheehan states, “I’m motivated by curiosity, enchantment, and a sense of desperate optimism in the face of the ferocious disconnection that characterizes daily life in post-industrial America. I prefer to make problems, not solutions. My hope is that the art I create provokes unsettledness, to make us consider once again that which we thought we knew.”
Location: NVC 7-226
Karen Shelby is an Associate Professor of Art History at Baruch College, City College of New York. She served as Interim Director or the Graduate Program in Arts Administration for the 2017/2018 academic year. She was a Visiting Professor at the Universiteit Gent for Fall 2015 sponsored by a Fulbright/Terra Foundation of American Art Fellowship, and, in 2017, Visiting Professor at KASK (The Royal Academy of Fine Arts in Gent), for a Master class on art and the Great War. She is currently listed on the Fulbright Specialist Roster (2016 – 2021). Dr. Shelby holds an M.A. from The Ohio State University with a concentration in Southeast Asian Art and Architecture and a Ph.D. from the Graduate and University Center of the City College of New York.
Her research focuses on the visual culture of the Great War with an emphasis on the memory of the conflict in Belgium, specifically Flemish nationalism. In her publications she addresses the cultural politics of exhibition narratives of the war in museums along the Western Front; memorials and cemetery design; and the role of pilgrimage in First World War mourning practice. Her publications include Flemish Nationalism and the Great War: The Politics of Memory, Visual Culture and Commemoration (Palgrave Macmillan, 2014) and Belgian Museums of the Great War: Politics, Memory, and Commerce (Routledge, 2016). Additional publications, conference presentations, and public talks are listed on her CV. She has also contributed several essays to Smarthistory.org, an open education resource for art history, including The Lion Capital of Sarnath, Buddhist Monasteries, The Pillars of Ashoka, and The Stupa.
She teaches the survey courses in art history as well as upper level courses in Nineteenth Century; Twentieth Century; Contemporary Art; Museum and Gallery Studies; Histories of Photography; Asian Art; and graduate courses for the Graduate Program in Arts Administration. During January term, she leads a study abroad course to Flanders, Belgium. She was the 2011/2012 recipient of the Whiting Award for Excellence in Teaching. She, along with fellow founder and collaborator, Michelle Millar Fisher, is Dean of Art History Teaching Resources (AHTR), a peer-populated platform for art history instructors. AHTR is funded by two Baruch Learning and Technology Grants, two Kress Foundation Grants, a GC DSC Knowledge Grant, and CUNY OER Development Grant. In 2016, AHTR launched Art History Pedagogy and Practice (AHPP), an e-journal devoted to scholarship of teaching and learning in art history in order to build an open-access platform to advance, collect, disseminate, and foster academic consideration of pedagogical practice and its scholarly value.
Dennis Slavin (PhD, Princeton University) has served as Associate Provost of the college since 2002. He has authored articles on 15th-century music for international journals, including the Journal of Musicology, Journal of the Royal Musical Association, Early Music, Studi Musicali, and Musica Disciplina, and has contributed to the Journal of the American Musicological Society, the new MGG (Die Musik in Geschichte und Gegenwart), Leading Notes, Notes, and the Dictionary of the Middle Ages. He was co-organizer of the First International Conference on Binchois (Fall 1995) and is co-editor of Binchois Studies (Oxford University Press, 2000). He is also editing the songs of Binchois for a new edition of the composer’s secular music. He is past-president of the Greater New York Chapter of the American Musicological Society.
Currently Prof. Slavin is serving as Associate Provost of the college.
Location: NVC 7-228
Leonard Sussman (MFA, Pratt Institute) is a Professor of Art at Baruch College. He is a fine-art photographer and has photographed the Italian landscape for many years, including the island of Sardinia. Recently, he has returned to the urban scene, in Berlin, Germany and in New York City, and is currently working in digital color as well as black and white.
Previous projects have included: lower Manhattan, the New York subway system, and the Olympic Peninsula in Washington. He had many exhibits at the Witkin Gallery in New York, as well as in numerous other venues including recent one-person exhibits in Berlin, Lyon, Rome, and New York City. His work is in many permanent collections including the Bibliotheque Nationale, Paris; the Brooklyn Museum; Citicorp, New York; the Gund collection in Boston; Italian Foundation for Photography in Turin; and the Yale University Art Gallery.
His work was included in The Witkin Gallery 25, a limited-edition book celebrating the 25th anniversary of the Witkin Gallery (New York: Lumiere Press, 1994); Paesaggi Italiani del’900 (Milan: Federico Motta Editore, 2000); Torino Fotografia 91-Biennale Internazionale-Alle Americhe e Ritorno (Milan: Federico Motta Editore, 1991); Camera International (Summer 1987); and many other publications.
Seventy of his photographs of Sardinia were combined with selections of Sardinian poetry in his monograph: Sardinia, that was published in Sardinia in 2000.
Location: NVC 7-227
Susan Tenneriello (Ph.D. CUNY Graduate Center) is Associate Professor of Theatre in the Fine and Performing Arts Department. She specializes in interdisciplinary studies with particular interest in the intersections of dance, theatre, visual art, and technology. Her work often focuses on spectacle entertainments and strategies of visual display in performance culture. She has published on such subjects as nineteenth-century theatre spectacles, the public dance spectacles of Ruth St. Denis, and the dance images of Edgar Degas. Her articles and performance criticism appear in Dance Chronicle, Performance Research, The Journal of American Drama and Theatre, PSA: The Journal of the Pirandello Society of America, PAJ: A Journal of Performance and Art, Theatre Journal, Women and Performance, and Slavic and East European Performance. She is the author of Spectacle Culture and American Identity: 1815-1940 (Palgrave Macmillan, 2013), a study of the growth of immersive entertainments in U.S. history. Her current research examines the history and development of modern Olympic Opening Ceremonies from a performing arts perspective.
A playwright as well, she is an alumni of the Soho Rep’s 2008-2009 Writer/Director Lab. With the writer’s collective America-in-Play, she collaborated on several projects, including Fire Escape in tribute to the 100th anniversary of the Triangle Shirtwaist Company fire and Exodus Code: Advice for Wanderers, inspired by the “Bintel Brief” letters in the Yiddish Forverts.
She regularly presents at national and international conferences, and is a member a numerous professional organizations. Among them: the Association for Theatre in Higher Education (ATHE), the American Society for Theatre Research (ASTR), the International Federation for Theatre Research (IFTR), and the Society for Dance History Scholars (SDHS). She also serves on the Board of Directors of the Pirandello Society of America. Recently, she traveled to Hyderabad, India, to present work on early twentieth-century Olympic culture.
Introduction to Theatre, Playwriting, Acting, Performing with New Media, and Theatre History are some of the courses she routinely teaches. She also teaches interdisciplinary seminars for the Honors Program and the Macaulay Honors College, such as a freshman seminar on the Arts in New York City. In fall 2015, she will teach a Dance Studies seminar for the Ph. D. Program in Theatre at the CUNY Graduate Center.
Location: NVC 7-219
Andrew Tomasello (B.A. Queens College (CUNY), Ph.D., Yale University) is Associate Professor of Music at Baruch College and Deputy Chair for Music. His earliest area of scholarly interest included music and cultural life in late medieval Europe. His first publication, based on his dissertation, was Music and Ritual at Papal Avignon, 1309-1403 (Ann Arbor: UMI Research P, 1983), a study of the personnel of the papal chapel, the liturgy of the chapel, and the music manuscript Apt 16bis. He has since published articles on medieval topics in the Journal of Musicology, Musica Disciplina, Rivista de Musicología, Proceedings of the IMS, Colloques de Royaumont, Le Notazioni della polifonia vocale dei secoli IX-XVII, and in the Companion to French Music (in press, Cambridge UP).
He has written dictionary entries for Die Musik in Geschichte und Gegenwart and for the Dictionary of Literary Biography and has presented papers in Spain, France, and England, as well as at conferences and colloquia in the United States. His most recent project, “The Madonna [Ciccone] Triptych: Mystical Imagery in Three Music Videos,” was presented at the second annual conference on Music and the Moving Image. He has also rewritten the rock music chapters for editions of both the Kamien and Wright music appreciation textbooks. His current research and teaching interests lie in popular commercial music in contemporary American culture. Do not expect Tomasello, a former rock guitarist and currently a non-observant musicologist, to be bright and bon vivant, however.
Joshua Mark Whitehead is an Assistant Professor of Art in the Department of Fine and Performing Arts.
Areas of specialization include interpretive and environmental graphics, brand identity, and design for print and digital media. Clients of note include HBO, Google, Thirteen New York Public Media, The Museum of Science and Industry, The American Indian Cultural Center & Museum, The American Museum of Natural History, and Paterson Great Falls National Historical Park. From August of 2010 to May of 2018 Joshua served as Adjunct Assistant Professor in the Communication Design department at the Fashion Institute of Technology in New York City. At that time, he developed and wrote multiple courses for the school’s BFA Graphic Design program.
His early career includes interpretive and environmental graphic development and design for Liberty Science Center, interpretive graphics and wayfinding systems for ESI Design, print collateral and web development for HLW International, and public experience design for Evidence Design in New York City. He received AIGA 365 and SEGD Merit Award recognition in 2011 for his work on Science Storms at the Museum of Science and Industry, Chicago.
Joshua is a member of the Choctaw Nation in Oklahoma.
MFA, Museum Exhibition Planning and Design, University of the Arts BFA, Graphic Design, Oklahoma City University
Location: NVC 7-224
Elizabeth L. Wollman is a professor of music who specializes in the American stage musical. Her research and teaching interests include American popular and vernacular musics, the musical theater, sexuality and gender, music aesthetics, failure, and the postwar cultural history of New York City. She is the author of many articles and chapters, as well as of the books The Theater Will Rock: A History of the Rock Musical, From Hair to Hedwig (University of Michigan Press, 2006), Hard Times: The Adult Musical in 1970s New York City (Oxford University Press, 2013), and A Critical Companion to the American Stage Musical (Bloomsbury/Methuen, 2017). With Jessica Sternfeld, she is co-editor of The Routledge Companion to the Contemporary Musical (2020) and of the journal Studies in Musical Theatre.