Applications available for State/UUP JLMC Individual Development Awards

The State/UUP JLMC Individual Development Awards (IDA) Program is designed to support a variety of professional development projects or activities by assisting eligible employees to develop their full professional potential and to prepare for advancement.

The maximum amount that can be awarded to an approved applicant is $1000. At this time, allocations are available for two (2) time periods. Employees may only be funded for one project or activity per time period.

First time period (“retroactive”): projects/activities that have already occurred from April 01, 2017 to July 01, 2018.  The deadline to submit applications for the “retroactive” period is March 29, 2019.

Second time period: projects/activities that have occurred or will occur from July 02, 2018 to July 01, 2019.  The deadline to submit applications for the second period is April 30, 2019.

For application and guidelines, visit

March 14 Convivium luncheon and program to cover “purposeful simulations”

You are cordially invited to luncheon with the Oneonta Faculty Convivium on Thursday, March 14, from noon to 1 p.m., in Le Café, Morris. Dr. Brian Lowe, Professor of Sociology, will present a talk titled, Towards a Sociology of Purposeful Simulations: Building Plausible Realities for Societal Influence.”

AbstractBroadly defined, simulations have been created within human societies for thousands of years, for reasons varying from reenacting foundational myths and histories, as forms of entertainment, and for training and preparatory purposes. Purposeful simulations involve four elements: narratives, (mis)information, cultural artifacts and conflicts, and social and political apparatuses. Narratives are stories, scripts, characters, and scenarios that organize information and develop compelling interest. (Mis)information refers to data and evidence expressed within these simulations that vary in terms of validity, reliability and/or proportionality. Cultural artifacts and conflicts refer to how purposeful simulations are communication, and to the conflicts that they generally contribute to. Finally, social and political apparatuses refer to the social and/or political locations that these simulations influence and/or are influenced by. Together, these elements help account for how some simulations create discernible social and political change.

One category of these are purposeful simulations, the creation of which have accelerated and expanded in contemporary Western societies because they are more readily created and disseminated by social movements, within subcultures, and by other nonstate actors. Simulations are narratives created around possible future scenarios integral to the claims emerging from social movements, subcultures or other claimsmakers that potentially generate greater credulity and/or emotional resonance with audiences through making potential future outcomes more plausible. 

Seating is limited.  To reserve a seat please call X2517 prior to March 11.   Vegetarian meals are available.


Call for applications for Susan Sutton Smith prize


Eligibility: All SUNY- Oneonta full-time, tenured faculty.


1. Recognition of academic excellence and scholarship.

2. Strengthen the relationship between SUNY Oneonta and the public community.

Selection criteria:

1. Evidence of academic achievement such as the publication of books or articles, grants for research or other scholarly endeavors, exhibits, presentations at conferences, creative achievements, performance events, or works in progress.

2. Evidence of ability to present a 45-minute lecture on a topic related to the applicant’s scholarly area of expertise that is appropriate for an audience of non-specialists.

Checklist of materials to submit:

1. Statement of up to 500 words regarding academic excellence.

2. Current vita which includes a list of published books, articles, chapters, creative activities, presentations, or other scholarly achievements.

3. A representative example of material listed above.

4. Title and abstract of proposed presentation, identifying subject, thesis/interpretation, mode (e.g., transparencies, slides, video, PowerPoint, demonstration), and relevance to an audience of non-specialists.

5. Two letters supporting your ability to give such a presentation to a general audience, at least one of which must be from an external (non-SUNY Oneonta) reviewer.

6. Audio/visual file of a past presentation or class lecture (optional).

Important dates:

Monday, March 11, 2019: Deadline to submit all application materials electronically to Written materials should be submitted as a single PDF.

Week of March 25, 2019: Successful applicant will be notified.

Evening of Tuesday, April 9, 2019: Successful applicant will give the Smith Lecture in Otsego Grille (7pm) – Reception will follow in Le Café, Morris Conference Center.

The Susan Sutton Smith Faculty Prize for Academic Excellence is made possible by an endowment created by Dr. and Mrs. Thomas Smith in memory of their daughter, Susan, and in honor of her commitment to academic excellence. This annual event is also generously supported by the SUNY-Oneonta Fund for Oneonta.

At the evening lecture, students with outstanding GPA’s will receive awards funded by gifts to the Fund for Oneonta.

The selection committee includes the Provost, the Academic Deans, and members of the Academic Excellence Committee. The Academic Excellence Committee is comprised of past recipients of the Susan Sutton Smith Prize, Joseph Pignato (Chair), Florian Reyda and Matthew Hendley, as well as past recipients of the Richard Siegfried Prize, Kristin Blinne, William Walker and Tyra Olstad.

Event to examine blackface in historical and anthropological perspective

A recent survey found that 1 in 3 Americans say blackface is “always” or “sometimes” acceptable as part of a Halloween costume. Why? What do you think?

Join Dr. E. Howard Ashford (ALS), Dr. Tracy Betsinger (Anthropology), and Dr. Sallie Han (Anthropology) for a conversation on blackface in historical and anthropological perspective.

The event will be held Tuesday, March 12 at 4 p.m. in the Red Dragon Theater. Hearty hors d’oeuvres will be served. All are welcome.

Organized by the Anthropology Department as part of its #UnderstandingRace event series to bring together students, faculty, and members of the community in thoughtful conversations about race and racism and the relevance of an anthropological perspective to these concerns of our everyday lives.

Pearlie Baluyut chairs, presents at CAA Conference

At the College Art Association’s (CAA) 107th Annual Conference held at the Hilton Midtown in New York, New York on February 13-16, 2019, art historian Pearlie Rose S. Baluyut, Ph.D. chaired the session “Reinventing Museums in Southeast Asia from the Colonial to the National, the Regional to the Global,” which explored the significant role of museums in Southeast Asia, considering their (trans)formation in a colonial, national, regional, and/or global context.

Recognizing museums as (re)sources of power, the session attempted to deepen one’s understanding of institutional policies and practices, such as acquisition, collection, preservation, exhibition, and education. Moreover, it interrogated the contradictions inherent in this enterprise, as well as potential challenges and crises as contemporary art fairs and biennials took center stage.

Joined by academic scholars and a curator including Marina Kaneti, Ph.D. (National University of Singapore), Emily Stokes-Rees, Ph.D. (Syracuse University), and Joyce Toh (Singapore Art Museum), Baluyut presented her paper titled “A Relic of Reciprocity: The National Museum of the Philippines,” arguing that the said institution embodied the culture of personal and political reciprocity as it had since its founding by the American colonial government in 1901 and problematizing the aspirational image of a decolonized, democratic, and developed nation.

With the CAA-Getty International Program Project Director Janet Landay, Baluyut co-chaired an IDEA Exchange Roundtable called “Design an International Artist Program for Annual Conference,” bringing together a total of 12 participants, including CAA committee chairs and members and local and international artists and scholars from Brazil, Hong Kong, Singapore, South Africa, the United Arab Emirates, and the United States of America.

With 10,000 art historians, visual artists, and museum professionals as members, the CAA is the oldest and preeminent international leadership organization in the visual arts in the United States, promoting the fields of art history, visual arts/culture, design, and museum studies and their understanding through advocacy, intellectual engagement, and a commitment to the diversity of practices and practitioners.

Baluyut currently serves as Chair of the CAA International Committee, which seeks to foster an international community of artists, scholars, and critics within CAA; to provide forums in which to exchange ideas and make connections; to encourage engagement with the international student community; to develop relationships between CAA and organizations outside the United States with comparable goals and activities; and to assist the CAA Board of Directors by identifying and recommending advocacy issues that involve CAA and cross national borders.

Pearlie Baluyut publishes art exhibition catalogue

SUNY Oneonta’s Project Space Gallery published Pearlie Rose S. Baluyut’s catalogue for the exhibition she curated in February 2019. Titled “Menagerie: Paintings by Tawan Wattuya,” the 80-page catalogue includes a foreword from the museum director Timothy Sheesley, a curatorial essay, fully captioned color reproductions of 89 watercolor paintings, and artist and curator biographies.

Referencing the 18th-century French word menagerie, which is a strange or diverse collection of animals kept in captivity for display, the catalogue documents the exhibition’s exploration of the art historical continuum of image- and myth-making even before the medieval times and until the explosion of mass media. From anthropomorphic gods to caricatured ghouls, creatures of fantasy mirror humanity’s ascent and descent as the latter masters its unpredictable environment since time immemorial. Evidently, power manifested itself as man’s negotiation with nature—a perpetual tug of war where the predator and the prey were interchangeable. As a prototype for the modern zoological garden gone awry, the gallery morphs into a menagerie of global politicians as grotesque monsters and domestic or exotic animals revered as national symbols or charted as signifiers of the Chinese zodiac. Menagerie: Paintings by Tawan Wattuya provides a captivating panorama of our progress in a gestural dialogue with the artist’s bestiary of the (in)famous and the (in)human. The exhibition runs from February 6, 2019 to March 15, 2019 at the SUNY Oneonta Project Space Gallery.


About the Curator

Pearlie Rose S. Baluyut received her B.A. (summa cum laude), M.A., and Ph.D. in Art History from the University of California, Los Angeles. Baluyut is the recipient of several grants and awards, allowing her to conduct research abroad as a successive UCLA Edward A. Dickson Art History Fellow, a two-time Fulbright U.S. Scholar, a Ford Foundation Dissertation Fellow, and a Faculty Learning Community Participant through the National Endowment for the Humanities Initiative Grant, among others. Baluyut has presented her papers at national and international conferences. In addition to her publications in Australian Journal of Art, Amerasia Journal, and Pananaw: Philippine Journal of Visual Arts, Baluyut is the co-editor and author of Confrontations, Crossings, and Convergence: Photographs of the Philippines and the United States, 1898-1998, as well as the author of Institutions and Icons of Patronage: Arts and Culture in the Philippines during the Marcos Years, 1965-1986. Baluyut’s scholarship is balanced by her professional experiences as Admissions Clerk at the UCLA Hammer Museum in Los Angeles; as Guest Curator at the UCLA Fowler Museum of Cultural History in Los Angeles and the Pacific Asia Museum in Pasadena; as National Juror of the Philippine Art Awards in Manila; as Director of The Sam Francis Gallery in Santa Monica; Art Historian and Advisor at the National Museum of the Philippines; and as Project Manager/Curator of the Philippines at the Venice Biennale Project. She has curated a range of exhibitions that included works in the Eileen Harris Norton collection such as High Yellow (1999-2001) by Los Angeles-based artist Mark Bradford who eventually represented the United States at the Venice Biennale in 2017. Since 2005, Baluyut has taught art history, theory, and criticism with a global dimension, as well as museum studies, at ten institutions in three countries. Besides leading international study abroad programs, Baluyut currently serves as International Committee Chair of the College Art Association, the preeminent international leadership organization in the visual arts in the United States.