Adjunct

A black and white portrait shows a woman with dark, shoulder-length hair and large, dark-rimmed glasses smiling slightly. She is wearing a light-colored, possibly knit, long-sleeved top. The background features a textured white brick wall on the right and a softly blurred, lighter area on the left.

Luisa Valle

Adjunct Assistant Professor

Educational Credentials :

  • Ph.D. in Art and Architectural History, The Graduate Center, City University of New York, 2022
  • Advanced Certificate in Critical Theory, The Graduate Center, City University of New York, 2022
  • M. Phil. Art History, The Graduate Center, City University of New York, 2018
  • M.A. Art History, City College of New York, City University of New York, 2012
  • B.A. Art History, University of Maryland, 2007

Teaching Experience :

  • Visiting Assistant Professor, Vassar College, Department of Art and Urban Studies Program, 2022-2025
  • Graduate Assistant, Spitzer School of Architecture, City College of New York, CUNY, Spring 2019
  • Writing Fellow, Guttman Community College, CUNY, 2017-2018
  • Adjunct Lecturer, Hunter College, CUNY, Fall 2016, Fall 2017
  • Graduate Teaching Fellow, Hunter College, CUNY, 2014-2017
  • Teaching Assistant, Spitzer School of Architecture, City College of New York, CUNY, 2013-2014
  • Adjunct Lecturer, Spitzer School of Architecture, City College of New York, CUNY, Fall 2013

Professional Experience :

  • Best Dissertation Prize Selection Committee Member, Antonio Candido Prize Committee, Latin American Studies Association, Brazil Section, 2025
  • Award Selection Committee Member, Marzio Award Committee, International Center for the Arts of the Americas, Museum of Fine Arts, Houston, 2024
  • Curatorial Fellow, The Bronx Museum of the Arts, 2016

Selected Publications and Recent Research :

  • “Eye on the Sky, Eye on the Ground: Rollie McKenna and Alternative Histories of Latin American Modernism,” in Jessica Brier et al., Making a Life in Photography: Rollie McKenna (New York: Scala Arts Editions, 2024), 152-63.
  • “Twisting the Modernist Curve: Mary Vieira’s Polyvolume: Meeting Point,” in Antonio Sergio Bessa, ed., Form and Feeling: The Making of Concretism in Brazil (New York: Fordham University Press, 2021), 89-102.
  • “The Modernism of Roberto Burle Marx or the Importance of Memory for Imagining the Future,” Colección Patricia Phelps de Cisneros (June 2019), https://www.coleccioncisneros.org/content/modernism-roberto-burle-marx
  • “Roberto Burle Marx and the Synthesis of the Arts: Local, Global, Modern,” in Edward Sullivan, ed., BrazilianModern: The Living Art of Roberto Burle Marx (New York: The New York Botanical Garden, 2019), 104-13.
  • “Object Lesson: Thomas Hirschhorn’s Gramsci Monument: Negotiating Monumentality with Instability and Everyday Life,” Buildings & Landscapes: Journal of the Vernacular Architecture Forum 22:2 (Fall 2015), 18-35.
  • Translation: José Oiticica Filho, “Reforçando os pontos dos ii (II),” Boletim Foto Cine 5:59 (March 1951), 26–28, in Alise Tifentale, "Introduction to José Oiticica Filho's 'Setting the Record Straighter'," ARTMargins, 8:2 (2019), 105-115.

Professional Memberships :

  • Society of Architectural Historians
  • College Art Association
  • Latin American Studies Association
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