Karen R. Beall
of Sculpture and Ceramics
B.F.A., University of Florida
M.F.A., University of Tennessee
Beall is a nationally recognized sculptor and illustrator whose work is inspired by living forms in the natural world. She has exhibited in New York, Los Angeles, and Philadelphia, and is represented by Solomon Projects in Atlanta. Her work has been featured in the journals Art in America, Art Papers, and Sculpture, and she was commissioned to create a permanent sculpture at Hartsfield Atlanta International Airport. Beall recently completed an artist’s residency at Tulane University in New Orleans, teaching and making art based on the unique ecosystem along the banks of the Mississippi River. She teaches ceramics, sculpture, and advanced art making.
M.A., University of Chicago
M.F.A., University of Kansas
Massad is a nationally recognized artist who works in pastel on paper. His intricate, symbolic still life drawings are in many public collections including the Metropolitan Museum of Art, the Philadelphia Museum of Art, the Smithsonian American Art Museum, and the Art Institute of Chicago. He has exhibited his work throughout the United States, and is represented by Bernarducci-Meisel Gallery in New York City. Penn State’s Palmer Museum of Art is currently organizing a retrospective of his work for spring, 2018. As Artist-In-Residence, Massad is a valuable resource as a teacher and mentor to students within the art and art history program.
Director of the Suzanne H. Arnold Art Gallery
B.S. Messiah College
M.A. Pennsylvania State University
Dr. McNulty is an art historian whose research focuses on Byzantine and Medieval portraiture on the island of Cyprus. She has presented papers at academic conferences throughout the United States, and has extensive teaching experience in visual studies and the history and aesthetics of photography. At LVC she has developed courses on the history and theory of portraiture, and on the body in the art and architecture of the Middle Ages. As Director of the Suzanne H. Arnold Art Gallery she curates exhibitions that span a broad spectrum of art historical interests.
Associate Professor of Art
Department Chair of Art & Art History
B.F.A., University of Florida
M.F.A., University of Tennessee
Pittari is an artist who works in painting and digital imaging. His emotive abstract paintings have been exhibited throughout the Eastern United States and are in several corporate collections. His recent series of landscape prints, based on American wilderness paintings of the 1800s, address issues of history and iconography within the broader field of landscape studies. Pittari is a former editor-in-chief of the journal Art Papers and has published exhibition reviews and interviews. He teaches studio courses in drawing, painting, and advanced art making, in addition to historical courses on color and culture and the interrelationship of painting and cinema.
Grant D. Taylor
Associate Professor & Dept. Chair Art & Art History
B.F.A., Honors University of Western Australia
Ph.D. University of Western Australia
Taylor is an art historian specializing in early digital arts. He teaches modern and contemporary art and global architecture and has supervised undergraduate research projects in the public arts. Taylor was awarded the Thomas Rhys Vickroy Award for Outstanding Teaching in 2010. He is the author of "When the Machine Made Art" (Bloomsbury Press, 2014) and has contributed to various journals and magazines. Beyond his scholarship in art history, Taylor has completed various art projects, including a documentary film and multimedia installations in the United States and Australia.
Visiting Scholar of Art
Art and Art History
B.F.A. Rhode Island
School of Design
M.A. Rutgers University
Dorothy Thayne is an artist and iconographer. Her icons can be viewed in churches and monasteries in Georgia, New Jersey and Pennsylvania and at Lancaster Galleries where she is represented. Her solo show at the Suzanne H. Arnold Gallery at LVC, including works in egg tempera, oil, ink and bronze opens on April 10, 2015. She is currently researching the provenance of a 16th c painting donated to LVC in the 1960’s by the family of Thomas S. Quinn, co-founder of Lebanon Steel Foundry.
Beall, K. (2012). Garland. Kennesaw, GA: Zimmerman Museum of Art.
Beall, K. (2013). Between the lines. Kennesaw, GA: Zimmerman Museum of Art.
Beall, K. (2014). Bubbling up from underneath. Kennesaw, GA: Zuckerman Museum of Art.
Massad, G. D. (2015). G. Daniel Massad: Recent works on paper. New York, N.Y.: Bernarducci Meisel Gallery.
McNulty, B. R. (2014, December 12-14). “Fresco at Kaminaria: Landscape as allegory,” Paper presented at the Art and
Archaeology of Lusignan and Venetian Cyprus (1192-1571): Recent Research and New Discoveries, University of
Cyprus, Nicosia, Cyprus.
McNulty, B. R. (2015, June 12). “Shifting identities from the feudal to the commercial: Family portraiture on Cypriot icons”.
Paper presented at the Ninth International Conference of Iconographic Studies, Museum of Russian Icons,
McNulty, B. R. (2015, October 21-24). The day of the dead: Bringing the exhibition to life. Paper presented at the
Southeastern College Art Conference, Pittsburgh, Pa.
McNulty, B. R. (2014). Intersection: Painting, drawing, and photography. Annville, PA: Lebanon Valley College.
McNulty, B. R. (2014). Stacy Levy: Collaborations with nature. Annville, PA: Lebanon Valley College.
McNulty, B. (March 22-24, 2012). The politics of rosary beads in venetian cyprus. 58th Annual Meeting of the Renaissance Society of America, Washington, D.C. 1-17.
McNulty, B. R. (2010). Cypriot donor portraiture: Constructing the ideal
family. (PhD, Temple University).
Pittari, M. (2012). Darkness and light. Oil on canvas, 30 x 42 inches.
Pittari, M. (2012). Entropy. Oil on canvas, 30 x 42 inches.
Taylor, G. D. (2015). "The family code: Art and life.” In B. Ferran (Ed.), Art that makes itself: Brown & son: purveyors of
digital images since 1968. Exhibition catalog (pp. 36-47) London, UK: Waterman Gallery.
Taylor, G. D. (2015). Digital iconoclasts. In P. Hertz (Ed.), All.go.rhythm. exhibition catalog (pp. 28-39). Chicago, Ill:
Ukrainian Institute of Modern Art.
Taylor, G. D. (2015). Vera Molnar: The unimaginable image. In Vera Molnar exhibition catalog (pp. 5-11). New York: Senior
& Shopmaker Gallery.
Taylor, G. D. (2014). Vital square--living matrix. In P. Beyls, & D. Brown (Eds.), Simple thoughts: Peter Beyls (pp. 131-155). Ghent: Asamer.
Taylor, G. D. (2014). When the machine made art: The troubled history of computer art. New York: Bloomsbury.
Taylor, G. D. (2013). Linearity and the algorithmic search. In B. McNulty (Ed.), The American algorists: Linear sublime (pp. 7-35) The Suzanne Arnold Art Gallery.
Taylor, G. (2012). Journal of the New Media Caucus, 8(2), 11-17.
Taylor, G. D. (2012). "Up for grabs": Agency, praxis, and the politics of early digital art. Media-N Journal.
Taylor, G. D. (2012). The soulless usurper: Reception and criticism of early computer art. In H. Higgins, & D. Kahn (Eds.), Mainframe experimentalism: Early digital computing in the experimental arts. Berkeley, CA: University of California Press.
Thayne, D. (2014). Elousa, Mother of God. In A. Gilroy, A. M. Gallagher, J. Sippel & C. O'Sullivan (Eds.), Act love walk: Praying in the Josephite spirit (pp. 119). North Sydney, N.S.W. Australia: Trustees of the Sisters of St. Joseph of the Sacred Heart.
Thayne, D. (2014). Knock. In A. Gilroy, A. M. Gallagher, J. Sippel & C. O'Sullivan (Eds.), Act love walk: Praying in the Josephite spirit (pp. 37). North Sydney, N.S.W., Australia.: Trustees of the Sisters of St. Joseph of the Sacred Heart.