Current Graduate Students
Amborski, Valery (1st)
Baeder, Lindsey (2nd)
Lindsey Baeder is an American artist working with photography, painting, and drawing. She received her BS in Studio Art from Southern CT State University in 2014. Her work is an investigation into the role and representation of women throughout history – an ideal that has been dictated and controlled by the patriarchal bias of society throughout the ages. Through this exploration of history, art, and myth, Baeder invites her audience to question the representations of the female body as subject of desire, commodified beauty, vilified icon, and the effects that these portrayals have had on the societal repression of women throughout history. Her work aims to deconstruct these ideological meanings and interpretations assumed and taken as truth by the patriarchal bias of Western society – a bias force fed to many members of this society for generations.
Bielski, Anne (1st)
Annie Bielski is an artist, writer, and performer based in Hudson and Buffalo, NY. She has performed at September Gallery, Basilica Hudson, The Spotty Dog, and The Half Moon in Hudson; at The Museum of Modern Art, Coustof Waxman, Allen & Eldridge in NYC, and elsewhere. She has collaborated with musician Jenny Hval and performed in her band across the US and Europe, performances of which have received critical acclaim from The New York Times and MTV.com. Her paintings, sculpture, and video have been exhibited at Burning in Water (NYC), Paris London Hong Kong (Chicago), High Tide (Philadelphia), Motel (Brooklyn) Lodos Gallery (Mexico City), and The Portland Institute of Contemporary Art, among other places. She received a BFA with an emphasis in Painting and Drawing from The School of the Art Institute of Chicago in 2012.
Chittum, Martin (1st)
Dolecki, Bernard Aaron (2nd)
I use technology as one elemental component of my multidisciplinary practice. This facilitates the creation of works with greater reception in our complex, rapidly changing global culture. My works tend to repeat individual elements to form integrated systems. My new media transcends from the more traditional mediums, like drawing and sculpture, by tapping into the realms of phenomenology. Interactive works are ephemeral by nature, calling upon the users to interact, deconstruct and leave real time impressions into their own visceral experiences. In essence, users are fragmenting and then defragmenting their own realities. Temporal experiences, either physical or metaphysical, have been my ongoing focus.
Drasin, Eric (1st)
Elston, Joshua (1st)
Ely, Nate (1st)
Nathan Ely is a photographer from Binghamton, NY. He got his start in photography and film while at SUNY Binghamton, receiving his BFA in 2010. The themes in his work stem from a fascination with photography’s unique relation to light, space and time, it’s ability to survey and render space and time in ways that aren’t accessible through normal vision. Drawing inspiration from the scope of vision offered to us through space exploration, his most recent work has focused on the microscopic landscapes that are otherwise inaccessible in the everyday. He is interested in exploring the apparatus of the camera and experimenting with traditional, historic photographic processes.
Flores, Julio (2nd)
I am an artist-educator who has exhibited visual work and taught Latin American arts and crafts for over 25 years. I’m known in Chicago and the Midwest for leading student and family workshops in kite-making, which is a traditional craft in Puerto Rico from where my family originates. The fun and competitive craft of making and flying kites, or “Chiringas,” has passed through three generations, and I’m hopeful this will continue with my son.
I’m the first Flores to formalize kite-making curricula for the classroom, combining handwork with social studies, math, and science. My methods have led to new concepts, including my idea to reuse old sails, which are already repurposed, to create new sails. It’s a process that I’d like to repeat, analogous to the seemingly infinite reflection cast between opposing mirrors, or until the paper falls apart. The resulting patchwork kites I’ve made so far are especially significant because they depended on my longtime premeditative habit of collecting and saving things, which like traditions and humor, is a topic that I want to continue exploring in my work.
I have also worked professionally in marketing communications, primarily graphic design and promotional writing for college outreach programs in arts integration.
Ford, Aleah (2nd)
Aleah Michele is a photographic artist from Western New York. She combines her knowledge of painting, fabrication, styling, and photography to create imaginative scenes that reveal innate human vulnerability. Fed by a steady stream of once-upon-a-times, beautiful landscapes, an over-active imagination, and great empathy for the feelings of others; her themes evoke memories of child-like wonder conveying depths of emotion.
Aleah attained her undergraduate and graduate degree in Art Education from Buffalo State and is currently pursuing her Master of Fine Arts through The University at Buffalo. Her work has been published and featured by The Portfolio, Phlearn, The Re:Art, Dark Beauty, and Atlas, among others.
Glick, Pam (2nd) ON LEAVE
Pam Glick was formally trained at the Rhode Island School of Design where she received a BA in painting. Glick was widely exhibited during the 1980s and 1990s, most notably in New York City with solo shows at Ramnerine Gallery (Long Island City), White Columns Gallery and Wolff Gallery as well as in group shows at Michael Kohn Gallery in Los Angeles. Locally, Glick was a part of the In Western New York exhibition at the Albright-Knox in 1981— the artist’s very first formal exhibition opportunity— and most recently at Hallwalls Contemporary Art Center as part of Amid/In Western New York. Glick’s work has also been included in important group shows alongside works by artists such as Jean Michele Basquiat, George Condo and Christopher Wool. Glick’s work is a part of many collections, both public and private, including the Eli Broad Foundation and Citi Bank. In 1985, Glick moved to Vermont to raise her children and turned her focus to works on paper. Glick has recently relocated back to Buffalo with a renewed interest in oil, which the artist describes as her “first and favorite medium.” In 2016,Glick has had solo exhibitions at Anna Kaplan (formerly BT&C Gallery), Buffalo and White Columns, New York. Glick is represented by Anna Kaplan Gallery.
Heard, Gabrielle (2nd)
My unique life experiences have informed my body of work. I have been impacted by many people from cultures that have often been marginalized in western society. It is my intention to capture the perspectives and experiences of persons who are often misunderstood. I aim for my work to give members from these communities an opportunity to tell their stories in their own words so that it remained unfiltered from biased points of view. I want my work to defy stereotypes of people such as those in the LGBT community, people of color, undocumented immigrants, and others. I want my work to impact its audience on an emotional level; one that allows the audience to relate to the subject on a human level. I believe that the best way to do this is through new media objectives such as digital imaging and video.
Jairam, Andie (2nd)
My name is Andie Jairam and I am an emerging artist out of Atlanta, Georgia. I am currently working on my Masters in Fine Arts at the University of Buffalo in Buffalo, Ny.My work deals with Printmaking and Drawings. My story is titled Black Future, Amir Dex changes slavery and makes Africa one of the biggest technological places for Africans to live. In the year 2035, Amir stumbles upon a tribal book while working on an African American History paper. Inside there is a page marked “incantation spell for returning to the past”. He reads the spell and is thrown back to 1526 where he is able to prevent slavery from happening in Africa. By doing so, he allows Africa to become an intellectual powerhouse where technology and art have combined and created a hybrid between futuristic and primitive themes.
Born in Buffalo, NY in 1985, she is a 2018 Studio Art MFA student at the University at Buffalo.
Between 2009-2016 Kyla was based in Berlin. In 2014 she completed her MA in Solo/Dance/Authorship at the University of Arts, Berlin. Her MA thesis performance, Histrionics of a Contortionist (Flip it and Reverse it) was an investigation into (self)intimacy in the age of virtual avatar and mediation. She has shown her work extensively in the Berlin Dance scene and in Buffalo, often collaborating with local community organizers for socially engaged actions.
She makes collaboration driven, inclusive playgrounds that rejoice in art as a utopian alternative to pragmatic logic. The mediums she works through are project-specific arrangements that shift between performance, choreography, video, word-play, sculpture, and painting. Her work functions to understand existing paradigms and to maximize (her/our) capacity to feel.
Looking at how to encounter familiar ideas in unfamiliar contexts, to discover new relationships to old phenomena, she is questioning if and how it is possible to bypass or at least subvert cognitive mediation of present sensations, and to privilege feeling over thinking.
Llobet, Carlos (1st)
MacNeil, Kate (2nd)
My concerns as an artist lie in the transformative nature of memories, and how they often leave us with false impressions of an actual occurrence. While also working heavily in printmaking, I find a certain level of synchronicity between these conceptual elements and the process of printmaking itself. My most recent work has been utilizing printmaking – proofing, printing, altering, re-proofing, etc. – to examine these memory lapses and how they relate to the imperfection of the person behind the process.
Nacov, Brian (1st)
I use drawing and painting as a way to ‘assemble’ landscapes. I employ these terraforming techniques to invite exploration and play within my work. My subject matter is inspired and derived from science fiction, fantasy, ideas of mysticism, and game environments; blending real and virtual spaces in a traditionally illusionistic, pictorial manner.
I am interested in how impactful experiences within game spaces can affect how we perceive events in our real lives. I am also currently exploring the effects and taxonomy of glitches experienced in games and how they can be applied to the content of my work.
Sepideh Pourhang (2nd)
I am from a country with an old history. After finishing my BFA in 2013 I came to the United States. Now I want to focus on human inequality through the use of simple symbols in my artwork. My artwork took a critical view of social, political and cultural issues. My goal is to be an artist that makes people think about gender inequality. Specifically, to promote human rights and protect women from all forms of violence, discrimination and injustice. It is crucial first to trace the cultural, social and legal roots of these unjust practices.
Soe, Law Eh (2nd)
Law was born on in Hpa-An, the capital city of Karen State in Burma. From 1991 to 1996, he studied law at Rangoon University. He worked as a staff photographer for AFP (Agence of Frence Press) from 2003 until 2005. In 2005, he was hired by the EPA (European Press Photos Agency) as a staff photographer. Due to governmental instability in Burma, he came and settled in Buffalo in 2007 as a refugee. From 2008-2014,he worked as a culture liaison for the International Institute, refugee resettlement office in Buffalo.
Sutherland, Julia (1st)
Van Houten, John (1st)
Yang, Xiao (1st)
Critical Museum Studies MA
M. Abbott Nixon
Critical Museum Studies student Abbott has spend the last five years in fine art conservation. She completed her Bachelor of Arts in Arts administration from SUNY Fredonia, and has continued her education in Chemistry prior to starting her masters in 2015. She has interned at notable museums such as the Indianapolis Museum of Art and the Shelburne Museum, VT in their object conservation departments. Currently she is working at West Lake Conservators in paintings conservation.
Visual Studies MA
Natalie Kennedy is a second year Visual Studies MA student with an MFA in Photography. Combining her interest in the discourse of the veracity of the photographic medium and the authority of the archive, she is particularly focused on the speculative fiction, counter-factual history and liminality active in “parafictional” works of art by artists such as Michael Blum, Joan Fontcuberta, and Walid Raad, among others.
Visual Studies PhD
Amy Baer is a doctoral student in the Visual Studies program. Her primary interest is American post-modernism, specifically the Pictures Generation artists, and their integration of film with sculpture, performance, and photography. Her research is focused on the early works of Robert Longo and Cindy Sherman from the mid-1970s, specifically their representations of masculinity and femininity, performativity, and identity construction.
Andrew Barron is a third-year doctoral student in the Visual Studies program. He recently received a BA in art history from New York University. His research focus is American art and visual culture since 1960, with an emphasis on queer and feminist theory, theories of postmodernism, modes of distribution and display, and historiography.
Cat Dawson is a doctoral candidate in Visual Studies at the University at Buffalo who specializes in American and European post-war and postmodern art, culture, and theory. Her particular interests include feminist and queer aesthetics and politics, theories of the body, and psychoanalytic theory. She is currently writing a dissertation investigating literalism and minimalism.
Jamie DiSarno has received a Bachelors of Fine Arts in Painting and Sculpture, a Masters of Fine Arts in New Media, and is currently a PhD student in Visual Studies at the University of Buffalo. She studies performance art, feminism, and art in Latin America. Her area of focus is on the interrelation of US foreign policy and art in Latin America, and the ways in which artists engage with the phenomenological in order to bridge a presumed otherness and to implicate complicity in silencing.
Dinara Garifullina is a first-year PhD student in the Visual Studies program with a BA in Art History and an MA in Art Criticism. She is interested in Cinema Studies with a focus on the representation of queer characters.
Jennifer Gradecki is an artist-theorist who aims to facilitate a practice-based understanding of socio-technical systems that typically evade public scrutiny. Using methods from institutional critique, tactical media, and information activism, she investigates information as a source of power and resistance. She is currently a Visiting Assistant Professor at Northeastern University in Boston. She holds an MFA from UCLA and is a PhD candidate in Visual Studies at SUNY Buffalo. Her dissertation, Operation Mosaic: Informational Mosaics in Art and Intelligence Practices, analyzes the metaphors and conceptions of data and information used by intelligence analysts and in practice-based artistic research projects that deal with the surveillance state. She has participated in numerous international exhibitions and conferences, including Ars Electronica (Linz), New Media Gallery (Zadar), AC Institute (New York), The New Gallery (Calgary), Critical Media Lab (Kitchener), Critical Finance Studies (Amsterdam), ISEA (Vancouver), and Radical Networks (Brooklyn). Her work has been commissioned by Science Gallery Dublin and funded by the Puffin Foundation. www.jennifergradecki.com
Benjamin Kersten is a second-year PhD student in Visual Studies. He researches how art and visual culture address the relationship between identity and various spaces, ranging from institutions to nationalist geographies. In particular, he examines the role of Jewishness in histories of social movements, interracial tension and solidarity, and transnational violence.
MC Koch is a doctoral candidate in Visual Studies whose research pertains to a pivotal moment of European modernism, during which an influx of Jewish expatriates to early-twentieth-century Paris (specifically the artists Marc Chagall [1887-1985] and Amedeo Modigliani [1884-1920]) operated on the boundaries of the avant-garde as a disruptive force. Her project explores notions of identity, origin, and the body as they related not only to identity politics of the recent past, but also the resonances of these politics in the contemporary world.
kolberg, sarah jm
sarah jm kolberg is a doctoral candidate who specializes in the American and French post-WWII avant garde, with an additional focus on the post-WWI avant garde, queer theory, and as a film scholar on narratology, psychoanalytic theory, and film noir. Her dissertation investigates the queering of taste classes in the work of Ray Johnson. She has won numerous awards as both a writer and film producer, whose films have screened around the world. She holds a joint MA in English and Film, an MFA in Film Production, and an MA in Visual Studies. Her recently completed film project is a feature length documentary about pulsar research: www.lgmfilm.com which was funded by the National Science Foundation, NASA’s West Virginia Space Grant Consortium, the National Radio Astronomy Observatory, and West Virginia University. Currently she is producing a short promotional film about the search for gravitational waves and how pulsars aid this objective.
Conor Moynihan is a doctoral student in the Visual Studies program at the University at Buffalo, SUNY. He studies contemporary art with an interest in queer art/visual culture, Orientalism, primitivism, and transnationalism. More specifically, Moynihan is researching contemporary artists from the Middle East, North Africa, and Turkey working in Europe and North America and dealing with gender and sexuality. In addition, Moynihan curated Ill at Ease: Dis-ease in Art(2017) at UB Department of Art’s Lower Gallery and co-curated Drama Queer (with Jonathan D. Katz) for the Queer Arts Festival 2016 in Vancouver, Canada.
Nagatsuma has worked on Japanese representations of sexualities in the context of Japanese socio-political life in the 1960s and 70s. The main goal of her study is to reveal that the manifestation of queerness in the lives and works of Japanese artists during this era subverted the then-contemporary Japanese socio-political settlement.