Director, School of Art; Professor
DAAP School of Art - 0016
University of Cincinnati
PO Box 210016
Cincinnati, Ohio 45221
Professor Bonansinga is a curator of contemporary art responsible for conceptualizing and organizing dozens of exhibitions over the course of her career including Tania Candiani: Sounding Labor: Silent Bodies (2020), Unraveled: Challenging Textile Traditions (2016) (both at the Contemporary Arts Center, Cincinnati) and Staged Stories: 2009 Renwick Craft Invitational (Smithsonian American Art Museum, Washington, D.C., 2009). From 2004-2012 Bonansinga was founding director of Stanlee and Gerald Rubin Center for Visual Art at The University of Texas, El Paso where she curated many exhibitions, established an undergraduate minor in museum studies and taught courses in curatorial practice. Her experience there is the subject of her book Curating at the Edge: Artists Respond to the U.S./Mexico Border.
MA, University of Illinois Urbana Champaign, 1991 (art history)
MBA, New Mexico State University Las Cruces, 2009 (business)
BA, University of Michigan Ann Arbor, 1983 (economics)
- Director, School of Art, College of Design, Architecture, Art and Planning, Lead a School of approximately 30 FTE faculty and 370 students (graduate and undergraduate) •Strategic planning of curricular development of art education, art history and fine art •Coordinate schedules and teaching •Manage financial and human resources •Represent the School to external constituents, including prospective students, faculty and donors •Teach courses in both Fine Art and Art History at both graduate and undergraduate level , University of Cincinnati, Cincinnati, Ohio
- Founding Director, Stanlee and Gerald Rubin Center for the Visual Arts, Launched and led university art museum on campus of 22,000 students. •Directed staff of five full time equivalent staff members and numerous part-time student interns in management of 14,000 square foot facility •Curated approximately four contemporary art exhibitions by nationally and internationally recognized artists annually, nine of which traveled to other museums • Managed faculty exhibition selection committee • Inspired Rubin Center director’s circle of nine community members who help generate audience excitement and raise funds. Raised more than $100,000.00 in individual donations •Integrated academic mission of Hispanic-majority university with programming at Rubin Center, including interdepartmental collaborations (English, Chicano Studies, Humanities, History, Languages and Linguistics, Philosophy, College of Engineering Cyber-Lab, Centennial Museum, Center for Environmental Resource Management, Asian Studies, Religious Studies) •Increased audience numbers and levels of engagement on a daily basis. Audience increased from 0 (in 2004) to over 10,000 (in 2010) annually •Oversaw the development of educational outreach and family programs related to exhibitions •Taught Exhibition Practices I and II, which focused on museum practice and theory •Spearheaded development of Exhibition Practices Certificate and Museum Studies Minor undergraduate degree and serve as advisor for both programs •Secured donations of important artworks •Generated audience excitement and media coverage (local, regional and national) for each exhibition , University of Texas at El Paso, El Paso, TX
- Director of Unversity Art Galleries, •Curated and programmed two galleries with contemporary art •Served on oversight committee for redesign of existing campus building to be Stanlee and Gerald Rubin Center for the Visual Arts, a $2,200,000.00 renovation , University of Texas at El Paso, El Paso, TX
- Curator and Director, Hoffman Gallery and Instructor of Art History, Curator and Director, Hoffman Gallery •. Integrated gallery programming with College’s educational mission, including the establishment of a series of artists’ talks and work-study opportunities for students •Chaired Hoffman Gallery exhibition selection committee, composed of members of the College’s board of directors, faculty and prominent Portland artists. Supervised installer, graphic designers, guest curators •Attained regional and national recognition for the gallery Instructor, Art History •Established comprehensive art history curriculum necessary for studio art school to become a degree-granting college •Initiated and developed art history slide library where none had existed. Added over one hundred art history texts and other resources to college library , Oregon College of Art and Craft, Portland, Oregon
- Graduate Fellow, Researched and wrote catalogue entries for “Sacred Mountains in Chinese Art,” an exhibition curated and organized by Krannert Art Museum at the University of Illinois, Urbana-Champaign, traveled to the Metropolitan Museum of Art, New York, NY., Krannert Art Museum at University of Illinois, Urbana Champaign
1987 -1989 English Instructor, Taught English in public high schools as participant in Japan Exchange and Teaching Program, Japanese Ministry of Education, Kitakyushu, Japan
1983 -1987 Special Publications Manager, Production Controller, Assistant to Journals Manager, University of Chicago Press at the Univeristy of Chicago, Chicago, IL
Placed-based contemporary art Contemporary art and museum practice
-2012 American Association of Museums Museum Assessment Program Type:Grant
2011 -2012 Paso del Norte Health Foundation and U.S. Department of State (U.S. Embassy in Juarez) Type:Grant
2010 -2011 Susan and Leonard Nimoy Foundation Type:Grant
National Endowment for the Arts Type:Grant
Lannan Foundation Type:Grant
2006 -2008 Andy Warhol Foundation for the Visual Arts Type:Grant
-2006 Firestone Graham Foundation Type:Grant
-2004 Rotasa Foundation Type:Grant
Jordan and Mina Schnitzer Foundation Type:Grant
2003 -2004 Shen Lee Endowment Type:Grant
-2003 Mid-America Arts Alliance Meet the Composer
Texas Commission on the Arts Type:Grant
City of El Paso Arts and Culture Department Type:Grant
University of Cincinnati Faculty Development Council Type:Grant
2013 -2015 University of Cincinnati Forward Type:Grant
University of Cincinnati Commission on Status of UC Women Type:Grant
2012 -2013 The University of Texas at El Paso Office of Research and Sponsored Projects Type:Grant
Asian Cultural Council Type:Grant
Texas Commission on the Arts Cultural Connections Grants Type:Grant
-2005 Smithsonian Institute Interpretation and Representation of Latino Cultures Fellow, Washington, D.C. Type:Fellowship
2018 -2018 FotoFocus Exhibition research and presentation support for "Past as Present: Capturing and Archiving the Female Experience" Role:Curator Completed Type:Grant Level:Regional
Grant: #R40747 Investigators:Bonansinga, Kathryn; Grace, Kevin Anthony 07-01-2019 -12-31-2020 UC's AHSS Faculty Research Summer Stipend Program Site Investigations: Art, Borders and the Cincinnati Project Role:PI $9,658.80 Active Level:Internal UC
Investigators:Kate Bonansinga, Jordan Tate, Aaron Cowan 10-01-2018 -12-31-2018 FotoFocus Cincinnati Exhibition support: Past as Present: Capturing and Archiving the Female Experience Role:Curator 7,000.00 Completed Type:Grant Level:Regional
Investigators:Kate Bonansinga 09-15-2016 -09-30-2016 CEC ArtsLink Curatorial Residency, St. Petersburg, Russia Role:Curator/Critic 6,000.00 Completed Type:Fellowship Level:International
Investigators:Kate Bonansinga, Miki Hirayama 09-01-2014 -05-31-2015 University Faculty Development Fund Museum Studies Lecture Series Role:Organizer 6100.00 Completed Type:Grant Level:University
Peer Reviewed Publications
Kate Bonansinga (2017. )Logical Curating: Unraveled as Case Study .Visual Inquiry: Learning and Teaching Art, Special Issue: Curating as a Condition of Art Education, ,6 (1 ),13 -21
Kate Bonansinga (2011. )Trabantimino by Liz Cohen .Art Lies (Houston, TX), 68 (Spring ),76-77
Kate Bonansinga (2006. )False Borders: A Conversation with Marcos Ramirez ERRE .Sculpture Magazine (Washington, DC), November ,20-27
Kate Bonansinga Juan Granados: Rows .Ceramics: Art and Perception (Sydney, Australia), 65 (44-46 ),
Kate Bonansinga (2005. )Art as Opinion: Marcos Ramirez ERRE .Art Lies (Houston, TX) , Fall ,54-57
Kate Bonansinga Eddie Dominguez’s Landscape of Home .Ceramics: Art and Perception, 53 ,
Kate Bonansinga (2002. )Outside the Specific: Charles Mary Kubricht’s Landscapes .Art Lies, Fall ,
Kate Bonansinga (2002. )Jean Lowe’s American Landscapes .Art and Antiques, (Atlanta, GA), May (76-78 ),
Kate Bonansinga (2002. )Modern Context: Four Sculptures by Ken Price .Ceramics: Art and Perception, March ,44-46
Kate Bonansinga (2002. )Human Histories: Recent Work by Kate Blacklock and Dharma Strasser .Ceramics Monthly (Columbus, OH), January ,50-53
Kate Bonansinga (2001. )Sarah’s Relevance .Art Lies, Fall ,15-17
Kate Bonansinga (2001. )Past Views: The Embroideries of Carol Shinn .American Craft (New York, NY), October/November ,76-79
Kate Bonansinga (2001. )Schweiger Reverses It .Ceramics: Art and Perception, 44 ,3-5
Kate Bonansinga (2001. )Ephemerality of the Moment: A Conversation with Margo Sawyer .Sculpture, July/August ,24-31
Kate Bonansinga (2000. )Akio Takamori’s Theater of Memory .Ceramics Monthly, February ,55-57
Kate Bonansinga (2000. )Samurai vs. Astro Boy: the Felt Sculptures of Kazuhito Kobayashi .Surface Design Journal, Spring ,22-26
Kate Bonansinga (1999. )Geoffrey Pagen’s Transitional Ceramics .Ceramics: Art and Perception, 38 ,11-13
Kate Bonansinga (1999. )Intimate Interactions: The Vessels of Julia Galloway .Ceramics Monthly, October ,32-24
Kate Bonansinga (1999. )Content as Character: The Sculptures of Christine Clark 1995-1999 .Metalsmith Magazine (Missoula, MT), Spring ,30-37
Kate Bonansinga (1998. )Pairing of Opposites: Eva Kwong’s Sculptural Vases .Ceramics Monthly, November ,62-64
Kate Bonansinga (1998. )Percent for Temporary .Public Art Review (St. Paul, MN), Fall ,19-21
Kate Bonansinga (1998. )The Totemic Sculptures of Ted Vogel .Ceramics Monthly, June/July/August ,51-53
Kate Bonansinga (1998. )The Impact of Public Perception .Artweek, (Oakland, CA), May ,3
Kate Bonansinga (1997. )The Houses and History of Thomas Orr .Ceramics: Art and Perception, 30 ,52-54
Kate Bonansinga (1997. )Considering the Decorative .International Tapestry Journal (Canberra, Australia), Winter ,13-16
Kate Bonansinga (1996. )Julia Hoffman at the Oregon School of Arts and Crafts .Style 1900 (Lambertville, NJ), Fall/Winter ,30-32
Kate Bonansinga (1995. )Ronna Neuenschwander’s Reflection of Experience .Ceramics: Art and Perception, 20 ,65-67
(1994. )Submerged in the Sublime: Portland Painters Explore the Depths and Heights of Abstraction .Visions (Los Angeles, CA), Spring ,21-22
Kate Bonansinga (2001. )"El Favor de los Santos," at New Mexico State University .Art and Antiques, February ,
Kate Bonansinga (1995. )Remembering William Jamison .Reflex, August/September ,21
Kate Bonansinga (1995. )Picturing Portland: A Ten Year Anniversary Exhibition of The Visual Chronicle of Portland .The Oregonian (Portland, OR), (Thursday, April 20, 1995 ),
Kate Bonansinga (2016. )Art as Identity: 21c Museum Hotels .Sculpture , 35 (2 ),16
(2017. )Art Prospect: Art as Action in Public Sphere .Sculpture, 36 (7 ),78 -79
(2020. )Bonansinga, Kate (2019). (In Press). Newcomb in Paris: Mary Given Sheerer Newcomb in Paris: Mary G. Sheerer and the American Art Pottery Movement .Newcomb Art Museum, Tulane University,
Kate Bonansinga (2014. )Curating at the Edge: Artists Respond to the U.S./Mexico Border .University of Texas Press (Author)
Kate Bonansinga (2009. )Staged Stories: 2009 Renwick Craft Biennial .Washington, DC ,Smithsonian American Art Museum in conjunction with Scala Publishing (Author)
Kate Bonansinga (2015 )This Burning World: Willie Varela Resists Born of Resistance: Encounters with Chicano/a Visual Culture .Tucson, AZ,University of Arizona Press(Author)
Kate Bonansinga (2004 )Willie Varela at ArtPace 2004 Artpace Residencies and Exhibitions .(pp. 54-61).San Antonio, TX,
Kate Bonansinga, Jack Lenor Larson, Paul J. Smith, Jane Milosch, Lois Jecklin (2020 )Chunghi Choo as Mentor: The Student Perspective Chunghi Choo and Her Students: Contemporary Art and New Forms in Metal .Stuttgart, Germany,Arnoldsche Art Publishers(Author)
Bonansinga, Kate (2019 )Museums, Textiles and the Everyday Crafting Democracy: Fiber Art and Activism .(pp. 27-31).Rochester, NY,Rochester Institute of Technology Press
College Art Association annual conference (02-2015. )“Art from Research" .New York, NY.
College Art Association annual conference (02-2014. )“Co-operative Education in the Arts?” .Chicago, IL.
Cranbrook Academy of Art (10-2013. )"Art about Place: Contemporary Curatorial Practice in Two Regional Cities," 2013 [FALL] Edition Lecture Series .Bloomfield Hills, MI.
Signage Foundation and University of Cincinnati (10-2013. )"Sculpture as Sign,” 2013 National Signage Research and Education Conference .Cincinnati, OH.
National Council of Art Administrators annual conference, Virginia Commonwealth University (09-2013. )"Co-operative Education in the Arts?” .Richmond, VA.
MuseumNext annual conference Ignite Session (05-2013. )"New Media Art as Catalyst for Museum Audience Development" .Amsterdam, The Netherlands.
Midwest Art History Society annual conference (03-2013. )"Art at the Edge of the U.S. and Mexico" .The Ohio State University, Columbus, OH.
College Art Association annual conference (02-2013. )"Platform: The University Art Museum as Propagator and Disseminator of Cross-Disciplinary Research” in “Seeing/Knowing: Image Theory and Learning Strategies between Museums and University Curricula" .
The International SUN Conference on Teaching and Learning (03-2012. )"The Art Museum as a Laboratory for Learning" .The University of Texas at El Paso, El Paso, TX.
Looking at Arts, History and Place in the U.S./Mexico Borderlands conference (12-2011. )"Crafting a Curatorial Focus: The Stanlee and Gerald Rubin Center for the Visual Arts as a Laboratory for Art at the Border" .The University of Arizona, Tucson, AZ.
Cranbrook Academy of Art (10-2009. )"Making it Relevant: The University Art Museum in the 21st Century" .Bloomfield Hills, MI.
Smithsonian American Art Museum (09-2009. )"Staged Stories: 2009 Renwick Craft Invitational" .Washington, D.C..
Smithsonian Latino Center (07-2009. )"Curatorial Dilemmas,” with Rita Gonzalez (Los Angeles County Museum of Art) and Rocio Aranda-Alvarado (El Museo del Barrio, New York City) .Washington, D.C. .
National Council on Education for the Ceramic Arts 2007 annual conference (03-2007. )"Accumulation: Multiplication as Process and Subject in Contemporary Ceramic Art" .Louisville, KY.
Society of North American Goldsmiths annual conference (05-2006. )"The Big Picture and the Small Object" .Chicago, IL.
Grass to Gold: An International Jewelry Convention, sponsered by Crafts Council of India (10-2004. )"Hanging in Balance: Forty-two Contemporary Necklaces" .Chennai, India.
S.O.F.A. N.Y.C. 2000 in conjunction with Public Programs at Bard Graduate Center for Studies in the Decorative Arts (06-2000. )"Classical Meets Contemporary" .
S.O.F.A. New York 1999 in conjunction with Public Programs at Bard Graduate Center for Studies in the Decorative Arts (05-1999. )"Baroque is Back" .New York, NY.
The Annual Perry Endowment Juror Lecture, Whitman College (05-1999. )"Autobiography as Subject in Art Making" .Walla Walla, WA.
University of Oregon Museum of Art (03-1999. )"Masami Teraoka" .
(10-1998. )"Japanese Historical Ceramics and their Influence,” guest lecture .Lewis and Clark College,
College Art Association Annual Conference session entitled Changing Crafts: Practice and Exhibitions in the 1990s (02-1998. )"The Gallery Role in Contemporary Craft Discourse" .Toronto, Canada.
The Historic Preservation League of Oregon’s Spring 1995 Lecture Series (1995. )"Julia Hoffman and the Arts and Crafts Society of Portland" .
Art Institute of Chicago’s twenty-fifth annual graduate seminar (1990. )"Daoist References in Gong Xian’s Later Paintings" .
(2018. )Art, Place, Material .Otis College of Art and Design, Los Angeles, CA. Other Institution. .Level:National
Kate Bonansinga and Danilo Palazzo (2017. )Public Art and Place Making: An Ongoing Collaboration Between Fine Art and Urban Planning at University of Cincinnati .A2RU Annual Conference at Northeastern University, Boston, MA. Conference. .Level:National
(2016. )Art, Place, Material: A Curatorial Perspective .Smolny College and Bard Center for Curatorial Studies, St. Petersburg State University, St. Petersburg, Russia. Other Institution. .Level:International
(2016. )SIMPARCH and Atherton/Keener .Beijing Jiaotong University, Beijing, China. Other Institution. .Level:International
Raphael Zammit Committee Member 2014
Hannah Wilkinson Chair 2015
07-07-2006-07-31-2006 Museum Leadership Institute, Getty Leadership Institute, ,Los Angeles, CA
06-15-2005-07-15-2005 Smithsonian Institute for the Interpretation and Representation of Latino Cultures, Smithsonian Institution, ,Washington, D.C.
curator, museum, director, art
2005 -To Present: American Alliance of Museums
2009 -2012: Association of College and University Museums and Galleries
1991 -To Present: College Art Association
1998 -To Present: International Association of Art Critics
2013 -To Present: Midwest Art History Society
2012 -To Present: National Council of Art Administrators
Fine Art Graduate Critique Seminar Level:Graduate
Creativity and Change: Art and Neighborhood Transformation Level:Graduate
Thesis Colloquium and Professional Practice Level:Graduate
Curating Contemporary Art Level:Graduate
Academic - University of Cincinnati
PO Box 210016
Cincinnati Ohio, 45221