Karen R. Beall
of Sculpture and Ceramics
Director of the Suzanne H. Arnold Art Gallery
Associate Professor of Art
Grant D. Taylor
Associate Professor & Dept. Chair Art & Art History
Visiting Scholar of Art
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, Clinton, Mass.
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.