Born in Paris, France, in 1968, Stephen Dean works in multiple media, including film, sculpture, and drawing. Working across these media, Dean often uses color as a mechanism to alter spatial relationships. He is also interested in using the vocabulary of ritualized gatherings and everyday performance to re-constitute our systems of understanding space and time.
Dean’s work has been exhibited in major museums such as the San Francisco Museum of Modern Art, Miami Art Museum, Los Angeles County Museum of Art, the Museo de Bellas Artes, in Santander, Spain, and Musée du quai Branly, in Paris, France. Dean has participated in numerous biennials such as Moscow Biennial (2009), SITE Santa Fe Biennial (2006), 51st Venice Biennale (2005), the Sevilla Biennial (2004), the Istanbul Biennial (2003), and the Whitney Biennial (2002). His work may be found in the permanent collections of the Solomon R. Guggenheim Museum, New York, NY; the Whitney Museum of Art, New York, NY; the National Gallery of Art, Washington, D.C.; Yale University Art Gallery, New Haven, CT; the Fonds national d’art contemporain, Paris, France; and the Fundación Jumex, Mexico City, Mexico.
For over four decades, Edward Mayer’s work has involved transforming space and ordering perception through the repetitive manipulation of basic modular components of commonplace objects and materials which explore correlations between order and chaos, structure and entropy, stability and vulnerability, monumentality and ephemerality, presence and absence.
His large-scale installations have been shown at the Sao Paulo Biennial, Brazil; Kunsthalle Darmstadt, Germany; Contemporary Art Center, Cincinnati; Nassau County Museum, NY; Rose Art Museum, Brandeis University; Socrates Sculpture Park; Madison Art Center, Wisconsin; Mattress Factory, Pittsburgh; San Antonio Museum of Art; Museum of Arts and Design, NY; Indiana State Museum, Indianapolis; New York State Museum, Albany; Scottsdale MOCA.
He is a Professor and Sculpture Area Coordinator at the University at Albany. He has received 2 Ohio Arts Council Fellowships, 2 NEA Fellowships and an NYFA Fellowship in Sculpture, and was the 2006 recipient of the Distinguished Educator Award from the ISC.
Jeanne Silverthorne (New York) is a sculptor whose practice involves an archaeology of collapse and entropy. Since the early 1990’s, she has been excavating the conceptual and physical ruins of the studio whose outmoded infrastructure and lost artifacts, art forms, actions and people produce a contemporary vanitas.
Solo exhibitions include the Phillips Collection, Washington, D.C., Whitney Museum of Art, Rocca Paolinea, Perugia, P.S. 1, New York, the Institute of Contemporary Art, Philadelphia, and a mid-career survey at the Wright Museum, as well as numerous solo shows at galleries in New York, Los Angeles, Paris, Verona, Seoul, and Ireland. She has been featured in a wide range of museum exhibitions at MoMA, New York, the San Francisco Museum of Contemporary Art, the Houston Museum of Fine Arts, the Albright-Knox Museum, the ICA Boston, Museum Landesgalerie am Oberosterrreichischen, Landesmuseum, Linz, and Kunstsammlungen, Chemnitz, Austria, Haus der Kunst, Munich, Deste Foundation, Athens, Boras Konstmuseum , Umea, and Edsvik Konstock Kultur, Sollentuna, Sweden. Her work is in the collections of many institutions, including MoMA, New York, Phillips Collection, Washington, D.C., San Francisco Museum of Modern Art, FNAC (Foundation Nationale d’Art Contemporaine), France, Denver Museum, Denver, Colorado, Albright-Knox Museum, Buffalo, New York, Weatherspoon Museum, Greensboro, Houston Museum of Fine Arts, RISDI Museum, Providence, Rhode Island, Leeum.Samsung Museum, Korea, Sheldon Museum, The Contemporary Museum, Honolulu, Hawaii, Whitney Museum of Art, New York. Her next project, “Invisible Citings,” will be shown at the Addison Museum in Andover, Massachusetts, in September 2017.
Lynne Cooke is the Senior Curator, Special Projects in Modern Art, at the National Gallery of Art in Washington DC. Previously she was Deputy Director and Chief Curator at the Museo Nacional Centro de Arte Reina Sofia, Madrid, (2008–2012) and Curator at the Dia Art Foundation, New York (1991–2008).
Lynne Cooke was the artistic director of 10th Biennale of Sydney (1994–1996), co-curator of the Carnegie International (1991), and on the Turner Prize Committee, Tate Gallery, London (1985) among many others positions.
She has organized exhibitions of artists including Rosemarie Trockel (Museo Nacional Centro de Arte Reina Sofia, Madrid, New Museum, New York, and Serpentine Gallery, London, 2012–2013), Blinky Palermo (Los Angeles County Museum of Art, Hirshhorn Museum and Sculpture Garden, and Dia Beacon/CCS Bard College, 2010–2011), and co-curated Richard Serra’s sculpture show at MoMA, New York (2007). Cooke has also organized a number of exhibitions of younger American women artists, including Jessica Stockholder, Ann Hamilton, Zoe Leonard, and Roni Horn, and introduced many international artists to the US art scene.
Cooke has received many awards and is widely published. She has authored or written for exhibition catalogs on Agnes Martin, Francis Alÿs, Matt Mullican, Alighiero Boetti, James Castle, Willem de Kooning, William Kentridge, and for magazines such as Artforum and Parkett.
Allana Clarke ( b.1987, Trinidad & Tobago ) is a conceptual artist working in video, sculpture, installation, and performance. She has completed residencies at the Skowhegan School of Painting & Sculpture, The Vermont Studio Center, and Lighthouse Works. She was the 2014 recipient of the Toby Devan Lewis Fellowship at MICA, Skowhegan fellowship, Vermont Studio Civil Society Fellowship, the Peter W. Brooke Fellowship and a 2015 recipient of a Franklin Furnace grant. She completed her MFA in the Mount Royal School of Art at MICA and lives and works in Brooklyn NY. Clarke's most recent work has included performances with artist Clifford Owens at Columbia University (Romare Bearden: A Black Odyssey, 2015) and Invisible Exports gallery (Hard & Fast, 2016), collaborations with Joe Scanlan for his online poetry project L'oeil Vigilant. Artnet has listed her as one of the top artists to watch in 2017.
“My work is interested in dissecting the complicated nuances of human existence. a contemplation of preexisting cultural specificities we are all born into based on a variety of conditions that are out of our control. How can we come to terms with the constructions that pre-exist our bodies entrance into the world yet establishes the parameters for how we are supposed to function in the world?”
Sylvie Fortin is a curator, critic, editor, and arts administrator currently based in Montréal, Canada. She was Executive and Artistic Director of La Biennale de Montréal (2013-2017), Canada's most prominent contemporary art event. As Editor-in-Chief (2004-2007) and Executive Director/Editor (2007-2012) of ART PAPERS, she led the organization from a regional publication to a global thought leader. She was Curator of Manif 5 – the 5th Québec City Biennale (2010), Curator of Contemporary Art at the Ottawa Art Gallery (1996-2001), Program Coordinator at LA CHAMBRE BLANCHE (Quebec City, 1991-1994), and a long-term collaborator with the Montreal artist-run centre OBORO (1994-2001). Her critical essays and reviews have been published in numerous catalogs, anthologies and periodicals, including Artforum International, Art Press, C Magazine, NKA: Journal of Contemporary African Art and the now-defunct Canadian publications Fuse and Parachute.
Fortin has received many grants from the Canada Council for the Arts for her work as an independent curator and writer. In addition, her research has been supported by the Social Sciences and Humanities Research Council of Canada and the Canada-U.S. Fulbright Program. In 2007, she was named Lexus Leader for the Arts, Atlanta.
She is a board member of IBA, the International Biennial Association, Gwangju; a member of AICA-USA, the American chapter of the International Association of Art Critics, and of IKT (International Association of Curators of Contemporary Art), and an Advisory Committee member of the Arab Image Foundation, Beirut.
Since the early 1990’s, Charles Long has explored the possibilities of sculpture through a rich vocabulary of materials, colors, images, and shapes. Incorporating references to art history, popular culture, nature and his own experiences, Long’s work embraces modernist convention as a means of connecting inner and outer realities, forming pathways between one’s mental and bodily experiences and the surrounding environment. Through his many bodies of work over the years, the artist has consistently confronted formal parameters associated with sculpture as obstacles to push beyond, seeing modernism’s trajectory as unfinished and full of possibility.
The artist has received a number of honors and awards, most recently the 2008 Award of Merit Medal for Sculpture from the American Academy of Arts and Letters in New York. Throughout the past two decades, Long’s work has been the subject of major exhibitions worldwide. His most important solo presentations include CATALIN at The Contemporary Austin in Texas (2014), Fountainhead, a public commission in Dallas, Texas organized by the Nasher Sculpture Center (2013), Pet Sounds at Madison Square Park in New York City (2012), Seeing Green, a solo project in conjunction with All of this and nothing: The 6th Hammer Invitational at the UCLA Hammer Museum in Los Angeles (2011), 100 Pounds of Clay at Orange County Museum of Art in California (2010), and More Like a Dream Than a Scheme at David Winton Bell Gallery at Brown University in Rhode Island, which traveled to SITE Santa Fe in New Mexico (2005).
His work was featured twice in the Whitney Biennial at the Whitney Museum of American Art in New York (1997, 2008), and has also been included in notable group exhibitions at the Museum of Modern Art in New York, SculptureCenter in New York, Museum of Contemporary Art Chicago, Magasin 3 Stockholm Konsthall, Hirshhorn Museum and Sculpture Garden in Washington, D.C., Institute of Contemporary Art, Philadelphia, Mori Art Museum in Tokyo, among other museums.
His work is represented in important public and private collections worldwide, including those of the Museum of Modern Art in New York, Philadelphia Museum of Art, St. Louis Art Museum in Missouri, Walker Art Center in Minneapolis, Magasin 3 Stockholm Konsthall, Museum of Contemporary Art, Chicago, Whitney Museum of American Art, New York, Hirshhorn Museum and Sculpture Garden, Louisiana Museum of Modern Art in Denmark, and the Fogg Art Museum at Harvard University in Cambridge, MA.
Sondra Perry makes performances, videos, and works as a “data generator” and “free creative laborer” at “The Internet”. Perry has exhibited in group shows at the Seattle Art Museum, Seattle, Washington, MoMA PS1, Queens, New York, and the Studio Museum in Harlem, Harlem, New York. The artist has participated in residencies at the Skowhegan School of Painting and Sculpture, Vermont Studio Center, Ox-Bow School of Art and Artists’ Residency, the Experimental Television Center, and is currently an artist in residence at the prestigious CORE Residency Program at the Glassell School of Art at the Museum of Fine Arts, Houston.
Perry received a BFA from the New York State College of Ceramics at Alfred University in 2012 and an MFA from “an expensive New York art school causing gentrification in Harlem” in 2015. To describe her work, Sondra Perry manifests para spaces, a term coined by science fiction author Samuel Delany, meaning a ‘space’ existing parallel to the normal or ordinary, through performance and video. These para spaces are phantom and twilight zones, her grandma’s attic, and corners behind bookshelves where dead skin cells, lost candy corn, and little black girls find their autonomy. In these spaces, she and the viewer explore how imaging, visual languages, and digital literacy structure identity and representation in the virtual and physical realms.
Curator at the Hirshhorn since 2007, Evelyn C. Hankins is currently organizing Robert Irwin: All the Rules Will Change, a two-part project opening in April that comprises a historical show focusing on Irwin’s groundbreaking artworks from the 1960s and a major new scrim installation in response to the Museum’s distinctive architecture. Other recent projects include Jennie C. Jones: Higher Resonance; Over, Under, Next: Experiments in Mixed Media; and co-curating At the Hub of Things: New Views of the Collection. Previously, she held curatorial positions at the Fleming Museum at the University of Vermont and the Whitney Museum of American Art. She earned her Ph.D. in art history from Stanford University.
Johan Grimonprez was born in Roeselare, Belgium in 1962. He studied at the School of Visual Arts and attended the Whitney Museum Independent Study Program in New York.
Grimonprez achieved international acclaim with his film essay, dial H-I-S-T-O-R-Y. With its premiere at Centre Pompidou in Paris, France, and Documenta X in 1997, it eerily foreshadowed the events of September 11th. The film tells the story of airplane hijackings since the 1970s and how these changed the course of news reporting. The movie consists of recycled images taken from news broadcasts, Hollywood movies, animated films, and commercials. As a child of the first TV generation, the artist mixes reality and fiction in a new way and presents history as a multi-perspective dimension open to manipulation. His full-length feature, Double Take, 2009, received the Black Pearl Award at the Abu Dhabi film festival, a Spirit Award, and was an official selection of both the Berlin and Sundance Film Festivals.
Grimonprez's work is included in numerous international collections such as the Centre Georges Pompidou, Paris, France; the Kanazawa Art Museum, Japan; the National Gallery, Berlin, Germany; and the Louisiana Museum of Modern Art, Denmark. His curatorial projects have been hosted at major museums worldwide such as the Whitney Museum in New York; The San Francisco Museum of Modern Art in California; The Pinakothek der Moderne in Munich, Germany; and the Tate Modern in London, England. Grimonprez achieved international acclaim with his film essay dial H-I-S-T-O-R-Y at Documenta X in Kassel, Germany, in 1997, which eerily foreshadowed the tragic events of September 11th in New York. His films have been included in prestigious film festivals around the globe, including New York, Edinburgh, Telluride, Los Angeles, Rio de Janeiro, Tokyo, and Berlin. In 2016, Grimonprez’s most recent feature-length film, Shadow World, won Best Documentary Feature Film at the Edinburgh International Film Festival, Edinburgh, Scotland and at the 61st International Film Festival of Valladolid, Spain.
Grimonprez divides his time between Belgium and New York and is a faculty member at the School of Visual Arts (New York).
Carmel Buckley was born in Derby, England lives and works in London and Cincinnati. She studied at Newcastle upon Tyne Polytechnic, Escuela de Bellas Arte, Madrid University, San Carlos Academy of Fine Arts in Mexico City and at the School of Visual Arts, New York as a Fulbright Fellow. She is currently Professor of Art at The Ohio State University. She has been the recipient of a New York Foundation for the Art Sculpture Award and an Ohio Arts Council Individual Artist Award. Recent solo exhibitions include The Weston Art Gallery, Cincinnati, OH (2009), Clay Street Press, Cincinnati, OH (2011), and The Center For Recent Drawing, London, England (2012), and Delaware Center for the Contemporary Arts (2014). Her work has been featured in exhibitions at Gallery North, Northumbria University, Newcastle upon Tyne, England (2005); at Carl Solway Gallery, Cincinnati, OH (2006); at E:vent Gallery, London, England (2009), and Sculpture Key West, Key West, FL (2011).
Sharon M. Louden is an artist, educator, advocate for artists, and editor of the Living and Sustaining a Creative Life series of books.
Louden graduated with a BFA from the School of the Art Institute of Chicago and an MFA from Yale University School of Art. Her work has been exhibited in numerous venues including the Aldrich Contemporary Art Museum, the Drawing Center, Carnegie Mellon University, Weisman Art Museum, National Gallery of Art, Birmingham Museum of Art, Weatherspoon Art Museum and the Kemper Museum of Contemporary Art.
Louden's work is held in major public and private collections including the Whitney Museum of American Art, National Gallery of Art, Neuberger Museum of Art, Arkansas Arts Center, Yale University Art Gallery, Weatherspoon Art Museum, and the Museum of Fine Arts, Houston, among others.
Her work has also been written about in the New York Times, Art in America, Washington Post, Sculpture Magazine, ARTnews and the Philadelphia Inquirer, as well as other publications. She has participated in residencies at Tamarind Institute, Urban Glass, Franconia Sculpture Park, Society of the Four Arts and Art Omi.
Sharon Louden has taught for more than 25 years since graduating from Yale in 1991. Her teaching experience includes studio and professional practice classes to students of all levels in many institutions throughout the United States. Colleges and universities at which she has lectured and taught include Kansas City Art Institute, College of Saint Rose, Minneapolis College of Art and Design, Vanderbilt University and Maryland Institute College of Art.
Joseph del Pesco
Joseph del Pesco (Invited by Curatorial Practice MFA) Joseph del Pesco is an independent curator, organizer, art journalist, and web-media producer. He has realized curatorial projects at Artists Space in New York; Yerba Buena Center for the Arts in San Francisco; Galerie Analix in Geneva, Switzerland; the Rooseum in Malmö, Sweden; Article in Montréal, Canada; the Banff Centre in Alberta, Canada; the Nelson Gallery at the University of California, Davis; and most recently at the The Berkeley Art Museum in Berkeley California. He has contributed interviews, reviews and other texts to Flash Art, X-Tra, Proximity, Fillip magazines and various websites including Open Space (SFMOMA’s blog) and Art in America. He is currently working on an experimental school-without-walls project called the Pickpocket Almanack with the San Francisco Museum of Modern Art.
Molly Warnock was educated at The Ohio State University (BA 2000) and Johns Hopkins University, where she completed a joint Ph.D. in The Humanities Center and History of Art (2009). She is currently an Assistant Professor and Director of Undergraduate studies at Johns Hopkins University. Her research and teaching focus on art and critical theory primarily in Europe and the Americas from early 20th-century modernism to the present, with a special interest in the stakes and claims of abstraction. In her first book Penser la peinture: Simon Hantaï (Gallimard, 2012), she explores the work of a Hungarian-born French painter who is just beginning to be recognized as one of the most important figures in later 20th-century painting—a reputation based principally on the abstract, often large-format canvases he made between 1960 and 1982 in the medium he called pliage, or “folding.” Her current book projects include a significantly revised and expanded version of my Hantaï monograph for English-language audiences as well as a study of artistic practice and theory in the context of the Paris-based journal Tel Quel.
Her other recent and forthcoming essays concern artists as diverse as post-WWII painters Georges Mathieu and Joan Mitchell and contemporary figures Alan Uglow, Julia Fish, James Bishop, and Michel Parmentier. She has received generous grants and fellowships from the Mellon Foundation (2000-01), the Terra Foundation for American Art (2004), and the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington (2005-07). Before joining the faculty of Johns Hopkins in 2013, she held a Postdoctoral Research Fellowship at Princeton University (2008-10), an ACLS-Mellon New Faculty Fellowship at the University of Chicago (2010-12), and an Assistant Professorship at Emory University (2012-13). In 2010, she curated a double exhibition of Hantaï’s work for the Galerie Jean Fournier, Paris, and the Paul Kasmin Gallery, New York, and wrote the accompanying catalog, Simon Hantaï (2010). Molly is also a frequent contributor to Artforum.
Vesela Sretenović is the senior curator of Modern Art and Contemporary Art at the Phillips Collection in Washington DC. She joined Phillips Collection in January of 2009 and initiated its Intersections series, for which she invites contemporary artists to present or create new work in response to the permanent collection or/and the museum’s architecture. So far, the series has included 21 projects by emerging and established, national and international artists, including Bernardi Roig, Alyson Shotz, A.Balasubramaniam, Nicholas and Sheila Pye, Jae Ko, Kate Shepherd, Linn Meyers, Jennifer Wen Ma, Xavier Veilhan, and Sandra Cinto, among others. Other exhibitions she has organized at the Phillips include the first solo exhibition of Robert Ryman’s work in the Washington, DC area, the first presentation of Antony Gormley’s works on paper in the USA, and an exhibition of Ellsworth Kelly’s recent panel paintings.
Prior to joining the Phillips, Vesela spent ten years as a curator at the David Winton Bell Gallery, Brown University, where she organized solo shows of the works of Walid Raad, Charles Long, Joseph Beuys, Sean Scully, and Ilya Kabakov. Earlier in her career, she worked for the University at Buffalo (SUNY) Art Gallery and the Brooklyn Museum of Art, as well as several galleries in New York. She holds a Doctorate in Humanities from Syracuse University, a Master’s degree in Modern Art History, Theory, and Criticism from The School of the Art Institute of Chicago; and a Bachelor’s degree in the History of Art from the University of Belgrade, former Yugoslavia.
Kristen Hileman is the BMA’s Curator of Contemporary Art and Department Head since late 2009, Hileman oversaw the reinstallation of the museum’s Contemporary Wing in 2012 and has brought a diverse array of artists and their works to Baltimore through her Black Box, Front Room, and On Paper exhibition projects. She organized the major BMA survey Seeing Now: Photography Since 1960 (2011), and Anne Truitt: Perception and Reflection (2009-10), the first full career museum retrospective of that artist’s work, for the Hirshhorn Museum and Sculpture Garden in Washington, D.C.
Saisha Grayson is a curator, writer, art historian and teacher focused on the intersections of contemporary art, feminist politics, and cultural activism. She is a Ph.D. candidate at the Graduate Center, CUNY, where she studies contemporary art, performance, feminist theory, and exhibition history. She is currently finishing her dissertation, Cellist, Catalyst, Collaborator: The Work of Charlotte Moorman, as a Predoctoral Fellow at the Smithsonian American Art Museum in Washington D.C.
From 2011 until February 2016, she was Assistant Curator at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, where she provided key support on each of the Center’s special exhibitions, including the award-winning Materializing ‘Six Years:’ Lucy Lippard and the Emergence of Conceptual Art and Chicago in LA: Judy Chicago's Early Work, 1963-1974. She served as organizing curator of the Museum’s presentation of Wangechi Mutu: A Fantastic Journey (2013), curated the site-specific exhibition, Chitra Ganesh: Eyes of Time (2014) and co-curated the large, experimental group exhibition Agitprop! (2105-16). Prior to her tenure at the Museum, Grayson freelance curated around New York and worked as a communications consultant for a variety of museums and arts institutions.
Lucio Pozzi (1935, Milan, Italy, lives in Hudson, NY, and Valeggio s/M, VR, Italy) is a pioneer in working across different media and approaches, often coexisting in the same show. In 1978 he exhibited videotapes in a solo project at the Museum of Modern Art, New York, landscape watercolors at the John Weber Gallery in New York, and a giant installation of walls and photographs. He has continued setting up his Provocation Shows in museums and galleries: at University of Massachusetts, in Bielefeld and Karlsruhe, at Studio Carlo Grossetti, Milano, and in 1984 a three-gallery show in New York (Leo Castelli, John Weber, Susan Caldwell), while at the same time he has exhibited only single families of workers in locations such as in Documenta 6 (1977) and the Venice Biennale (US Pavilion) in 1980. His art is represented in many collections of international museums and private institutions.
A.K. Burns: Shabby but Thriving” marks a new chapter in artist A.K. Burns’ serial work drawing on theater, science fiction, philosophy, and ecological anxieties. Presented as part of the Department of Education and Public Engagement’s R&D Season: BODY, the project is organized around five elements: power (the sun), water, land, void, and body.
A.K. Burns is an interdisciplinary artist and educator residing in Brooklyn and a co-founder of W.A.G.E. (Working Artists and the Greater Economy). Her work has been exhibited widely, including in solo and two-person exhibitions at Callicoon Fine Arts, New York; Johannes Vogt Gallery, New York; Tate Modern, London; REDCAT, Los Angeles; Taxter & Spengemann, New York; Horton Gallery, Berlin; RECESS, New York; and elsewhere. She is currently a 2016–17 Radcliffe Fellow at Harvard University. A Smeary Spot, the opening chapter of the serial work of which “Shabby but Thriving” is the second part, premiered at Participant Inc, New York, in 2015, and traveled to the Portland Institute for Contemporary Art in 2016.
Badlands Unlimited is a New York-based independent publisher founded by the artist Paul Chan in 2010, and consists of artists Micaela Durand, Ian Cheng, Parker Bruce, and Ambika Subramaniam.
Paul Chan lives and works in New York. He currently has a solo exhibition at Greene Naftali, New York. Recent solo exhibitions include Deste Foundation Project Space, Slaughterhouse, Hydra, Greece (2015); Slought Foundation, Philadelphia (2015); Guggenheim Museum, New York (2015); Schaulager, Basel (2014); The Renaissance Society at the University of Chicago, Chicago (2009); Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (2008); and Stedelijk Museum, Amsterdam (2007). He is the 2014 recipient of the Hugo Boss Prize.
Paul Chan’s work belongs to the collections of the Guggenheim Museum, New York, the Whitney Museum of American Art, New York; The Institute of Contemporary Art, Boston, the Stedelijk Museum, Amsterdam, and the Walker Art Center, Minneapolis, MN.