1 Wash Pl, Room 431
B.F.A., Sculpture, School of Visual Arts, 1990
M.A., Individualized Study, New York University, 1996
Filip Noterdaeme is an interdisciplinary artist, academic, educator, and writer. He has taught art history at CUNY and the NYU School of Professional Studies since 2000, specializing in courses on renaissance art; modern and contemporary art; art criticism; and the intersection of literature, music, and the visual arts. Courses at SPS include Painting Sound: Music and the Visual Arts; The Spiritual in Modern and Contemporary Art; The Female Gaze: The Story of Women in Art; In Praise of Painting: Dutch Masterpieces at The Met; and Modern Couples: Art, Intimacy, and the Avant-Garde. He frequently lectures at MoMA and the Metropolitan Museum of Art; is a long-time Gallery Educator at the Guggenheim Museum in New York; and has written on contemporary art for Huffpost. He is the author of The Autobiography of Daniel J. Isengart (Outpost 19, 2013), a literary adaptation of Gertrude Stein’s legendary memoir, The Autobiography of Alice B. Toklas. His main art project, The Homeless Museum of Art (HOMU), which he ran from 2002 to 2012, was a satirical take on established cultural institutions that combined activism with performance and installation. HOMU has been written about by multiple publications, including The New York Times, Artforum, and Believer Magazine. Noterdaeme graduated with honors from the Gallatin School of Individualized Study in 1996. In 2021, he received SPS’s Excellence in Teaching Award, in recognition of his ability to inspire students to engage with art in innovative ways. He is an ardent lover of classical music and can often be found at Carnegie Hall or the Met Opera, where, in his student years, he used to moonlight as a supernumerary.
contemporary art history criticism and theory; modernism and the avant-garde; the contemporary art scene and market; the changing role of museums in society; the intersection of music literature and the visual arts; modern French literature poetry and criticism