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Kate Bonansinga

Title: Director, School of Art
Office: 6431E Aronoff Center
Tel: 513-556-5132

Professor 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 and established an undergraduate minor in museum studies and taught courses in curatorial practice.  She is in interested in museums as dynamic sites for learning, in the impact of art in gallery and non-gallery settings, and in the current methods that artists employ to make a difference in society and culture.  Bonansinga is the author of "Curating at the Edge:  Artists Respond to the U.S./Mexico Border" (University of Texas Press, 2014) and of a chapter in "Born of Resistance," edited by Scott Baugh and Victor Sorell (University of ArizonaPress, publication date TBA).  She curated "Staged Stories: 2009 Renwick Craft Invitational" at the Smithsonian American Art Museum, and since 2002 has served as a national art peer for the General Services Administration’s Art-in-Architecture program.


  • 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).

Research Information

Research Interests

Placed-based contemporary art Contemporary art and museum practice

Research Support

  • Museum Assessment Program, American Association of Museums.2012
  • Paso del Norte Health Foundation and U.S. Department of State (U.S. Embassy in Juarez) . 2011 to 2012.
  • Susan and Leonard Nimoy Foundation. 2010 to 2011.
  • National Endowment for the Arts.
  • Lannan Foundation.
  • Andy Warhol Foundation for the Visual Arts. 2006 to 2008.
  • Firestone Graham Foundation .2006
  • Rotasa Foundation.2004
  • Jordan and Mina Schnitzer Foundation .
  • Shen Lee Endowment . 2003 to 2004.
  • Meet the Composer , Mid-America Arts Alliance.2003
  • Texas Commission on the Arts.
  • City of El Paso Arts and Culture Department.
  • University of Cincinnati Faculty Development Council .
  • University of Cincinnati Forward. 2013 to 2015.
  • University of Cincinnati Commission on Status of UC Women.
  • The University of Texas at El Paso Office of Research and Sponsored Projects . 2012 to 2013.
  • Asian Cultural Council.
  • Texas Commission on the Arts Cultural Connections Grants.
  • Interpretation and Representation of Latino Cultures Fellow, Washington, D.C. , Smithsonian Institute .2005


Invited Publications

  • 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).

Published Books

  • Kate Bonansinga (01-2014). Curating at the Edge: Artists Respond to the U.S./Mexico Border. University of Texas Press.
  • Kate Bonansinga (2009). Staged Stories: 2009 Renwick Craft Biennial. Washington, DC: Smithsonian American Art Museum in conjunction with Scala Publishing.

Book Chapters

  • Kate Bonansinga (In Progress). This Burning World: Willie Varela Resists. In Scott Baugh and Victor Sorell (Eds.), Born of Resistance: Encounters with Chicano/a Visual Culture Tucson, AZ: University of Arizona Press.
  • Kate Bonansinga Willie Varela at ArtPace. In Matthew Drutt (Eds.), 2004 Artpace Residencies and Exhibitions (pp.54-61). San Antonio, TX.

Presentations & Lectures

Invited Presentations

  • 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".

Experience & Service

Work Experience

  • Director, School of Art, College of Design, Architecture, Art and Planning, University of Cincinnati, Cincinnati, Ohio.
  • Founding Director, Stanlee and Gerald Rubin Center for the Visual Arts, University of Texas at El Paso, El Paso, TX.
  • Director of Unversity Art Galleries, University of Texas at El Paso, El Paso, TX.
  • Curator and Director, Hoffman Gallery and Instructor of Art History, Oregon College of Art and Craft, Portland, Oregon.
  • Graduate Fellow, Krannert Art Museum at University of Illinois, Urbana Champaign.
  • 1987 to 1989, English Instructor, Japanese Ministry of Education, Kitakyushu, Japan.
  • 1983 to 1987, Special Publications Manager, Production Controller, Assistant to Journals Manager, University of Chicago Press at the Univeristy of Chicago, Chicago, IL.

Student Advising

  • Raphael Zammit, Committee Member.
  • Hannah Wilkinson, Chair.


  • Reviewer, Auburn University to 2013

Other Experience and Professional Memberships

  • 2005 to Present ,American Alliance of Museums,
  • 2009 to 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,

Courses Taught

  • Fine Art Graduate Critique Seminar
    Fine Art Graduate Critique Seminar
    Level: Graduate
    Term: 13SS
    Comments: Co-taught with Professor Kimberly Burleigh
  • Creativity and Change: Art and Neighborhood Transformation
    Creativity and Change: Art and Neighborhood Transformation
    Level: Graduate
    Comments: Co-taught with Professor Danilo Palazzo and Frank Russell (Summer 2013); and with Professor Danilo Palazzo and Jenny Ustick (Summer 2014) Supported by UC Forward grant
  • Thesis Colloquium and Professional Practice
    Thesis Colloquium and Professional Practice
    Level: Graduate
    Term: 13FS

  • Curating Contemporary Art
    Curating Contemporary Art
    Level: Graduate
    Term: 15SS