DOCSLIB.ORG

Download Open Studios Newspaper

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ISCP thanks the following contributors 301 302 303 for their generous support and sponsorship of Anne Neukamp Sophie Jung Roger Mortimer Artists and Curators in Residence the Fall 2015 Open Studios: Alfred Kordelin Foundation, Finland; The Andy Warhol Tony Albert, Australia; Henni Alftan, Finland; Foundation for the Visual Arts, USA; Arts Council of Ireland; iscp Australia Council for the Arts; Australian Consulate-General in Iliana Antonova, Canada; Julie Béna, France; Carl Boutard, New York; Austrian Cultural Forum, USA; Brooklyn Brewery, Third Floor Sweden; Elaine Byrne, Ireland/USA; Naomi Campbell, USA; USA; Bundeskanzleramt Österreich/Kunstsektion (BKA), Austria; 304 The Canada Council for the Arts; ColArt Americas, Inc., USA; Dylan Lourdes Correa-Carlo, USA; Donald Hai Phú Daedalus, USA; Gauthier Conseil des arts et des lettres du Québec, Canada; Consulate 306 305 General of Denmark, USA; Consulate General of the Federal Sara Eliassen, Norway; Nicole Franchy, USA/Peru; Exit Iliana Jacolby Republic of Germany, USA; Consulate General of Finland, USA; Antonova Satterwhite Dylan Gauthier, USA; Hulda Guzmán, Dominican Republic; Consulate General of the Netherlands, USA; Consulate General of Sweden, USA; Danish Agency for Culture; Mark Hilton, USA; Jytte Høy, Denmark; Saskia Janssen, Danish Arts Foundation; Davidoff Art Initiative, Switzerland; Edward Steichen Award Luxembourg; The Governing Mayor of Netherlands; Sophie Jung, Luxembourg; Jean-Paul Kelly, Open Berlin Senate Chancellery, Germany; The Greenwich Collection, Canada; Aleksander Komarov, Germany; Lilian Kreutzberger, USA; Hasselblad Foundation, Sweden; International Artists Studio 205 208 206 207 209 210 Program in Sweden (IASPIS); James Wallace Arts Trust, Aleksander Ingo Netherlands; Mårten Lange, Sweden; So Yoon Lym, USA; Julie Béna Jytte Høy Mårten Lange Hulda Guzmán New Zealand; Kulturstiftung des Freistaates Sachsen, Germany; Komarov Mittelstaedt Milton and Sally Avery Arts Foundation, USA; Mondriaan Fonds, Pepe Mar, USA; Ingo Mittelstaedt, Germany; The Netherlands; National Endowment for the Arts, USA; Roger Mortimer, New Zealand; Bastian Muhr, Germany; New York City Department of Cultural Affairs in partnership with the City Council, Melissa Mark-Viverito, Speaker, and 211 Astrid Myntekær, Denmark; Anne Neukamp, Germany; Antonio Reynoso, Council Member, 34th District, USA; Second Floor Pepe Mar Niedersächsisches Ministerium für Wissenschaft und Kultur, Natalie Hope O’Donnell, Norway; Liutauras Psibilskis, USA; Germany; Office for Contemporary Art (OCA), Norway; Aviva Rahmani, USA; Maruša Sagadin, Austria; Yoko Ono, USA; The Pollock-Krasner Foundation, Inc., USA; 203 202 204 201 212 The Real Estate Group CITIC Capital Holdings Ltd., USA; Royal Aviva Annesofie Annesofie Sandal, Denmark/USA; Jacolby Satterwhite, USA So Yoon Lym Elaine Byrne Tony Albert Norwegian Consulate General, USA; Salomon Foundation, France; Rahmani Sandal Sherry and Joel Mallin Family Foundation, USA; Toby Devan Lewis Foundation, USA Design by Other Means 221 Opening Reception Open Hours Natalie Hope Aqueous Earth O’Donnell Exhibition Friday, November 13 Saturday, November 14 6–9 PM 1–8 PM Exit International Studio & 213 Curatorial Program Astrid Myntekær 222 1040 Metropolitan Avenue Kitchen Lilian The group exhibition, Aqueous Earth, will be open and Kreutzberger on view in the second floor gallery space. Artists: Allora & Brooklyn, New York 11211 214 Bastian Muhr Calzadilla, Lara Almarcegui, Brandon Ballengée, iscp-nyc.org Fire Exit Dylan Gauthier, Brooke Singer and Pinar Yoldas. 218 220 219 217 216 215 Curator: Kari Conte. Maruša Sara Eliassen Saskia Janssen Jean-Paul Kelly Henni Alftan Carl Boutard Sagadin A new micro-exhibition series in the first floor project space, organized by a group of seven curators from the Center for Curatorial Studies, Bard College (CCS), launches during 101 102 Open Studios weekend. The first of seven exhibitions 103 Liutauras Naomi Exit Main Office features work by Mario Navarro. Curators: Benjamin Austin, Kitchen Psibilskis Campbell Center for Curatorial Studies at Christian Camacho-Light, Rosario Güiraldes, Emma James, Bard College (CCS Bard) Exhibition 104 Humberto Moro, Yanhan Peng, and Rachael Rakes. Ground Floor Office 110 Lourdes Correa-Carlo, 108 106 105 109 107 Donald Hai Mark Hilton Office Nicole Franchy Phú Daedalus 2015 Fall Studios #iscpopenstudios iscp 101 102 105 201 202 203 iscp United States Ground Floor, Artist United States Ground Floor, Artist United States/Peru Ground Floor, Artist Ireland/United States Artist Denmark/United States Artist United States Artist Liutauras Psibilskis Naomi Campbell Nicole Franchy Elaine Byrne Annesofie Sandal Aviva Rahmani Elaine Byrne, Endless Resistance, 2014, wood, single cell foam, metal, 170 × 205 in. Aviva Rahmani, Bass notes (detail), first movement ofBlued Trees, 2015, trees, paint 1/3 mile, Image credit: Aviva Rahmani Working with sculpture, video, photography and text, Byrne attempts to examine alleged Rahmani is an ecological artist who uses (un)certainties about the past within the pres- Annesofie Sandal,Mixed Paper, 2015, video, 2 min. 1 sec. aesthetic principles and scientific data to ent. This includes reflecting on the complexity address environmental degradation. She cre- of memory formation and its entwinement Liutauras Psibilskis, Pure Reason, October 2015, work in progress ates installations and full habitat restorations, Nicole Franchy, Atlas Universel - Tableau comparatif de la forme Influenced by location and sociocultural struc- with internal and external worlds, imagina- incorporating acoustic and musical ideas with et de la hauteur (detail of work in progress), 2015, postcard and tures, Sandal’s work emerges from an interest print collage tion and materiality. Recent exhibitions painterly elements, setting up new models for Psibilskis is showing one of his current proj- Naomi Campbell, Untitled, 2015, photograph, 28 × 20 in. in the overlapping space of the personal/ include Elizabeth Foundation for the Arts, resilience. She shows the second movement of ects, a reinterpretation of German philoso- private and the public/collective. She creates New York; Limerick City Gallery of Art; and her Blued Trees symphony, an installation that pher Immanuel Kant’s Critique of Pure Reason Franchy’s artistic practice is based on the works that aim to connect viewers to history, Campbell’s practice merges art and science, The Douglas Hyde Gallery, Dublin. compares the implications of proliferating from English to Emoji in collaboration with increasing mobility of people, objects and society and each other. Sandal shows a new and examines the social implications of fossil fuel infrastructures in New York State to teenage Emoji translators. He is also working ideas. Using images related to history, installation from her series of work with used technology. Her interdisciplinary approach conditions at Newtown Creek. Recent exhibi- on an ongoing secret guerrilla poster project memory and travel, she meticulously compos- cardboard and found objects. Recent exhibi- involves memory, perception, identity and per- tions include Cornell University, Ithaca; in Chinatown and is developing modulating es collages and installations. She is present- tions include Skowhegan School of Painting manence. She presents work that addresses Whitworth Art Gallery, Manchester Universi- online entities that include thehouseofculture. ing a work in progress that incorporates a & Sculpture; MMCA Residency Changdong, the social anthropology of consumption and ty; and Hyde Gallery, Memphis College of Art. com and kunsthalle.us. Recent exhibitions food in the context of the growing world nineteenth-century cartographic document Seoul; and Odense Sculpture Triennial. include Lithuanian National Gallery, Vilnius; population. Recent exhibitions include Scope and panoramic postcards, as well as images Bozar Centre for Fine Arts, Brussels; and Art Show, Miami; Asian Contemporary Art from a German “anthropological atlas.” Performa, New York. Fair, New York; and Tokyo Metropolitan Art Recent exhibitions include Galería Gonzalez Museum. y Gonzalez, Lima; Värmland’s Museum, Karl- stad, Sweden; The Sheila C. Johnson Design Center, New York; and Center for Art Design and Visual Culture, Baltimore. 108 110 110 United States Ground Floor, Artist United States Ground Floor, Artist United States Ground Floor, Artist Mark Hilton Lourdes Correa-Carlo Donald Hai Phú Daedalus Second Floor 204 205 206 United States Artist Germany Artist France Artist ISCP Fall Open Studios 2015 Open Fall ISCP Studios 2015 Open Fall ISCP So Yoon Lym Aleksander Komarov Julie Béna Donald Hai Phú Daedalus, Reproducible Vehicle At Any Nearby Lourdes Correa-Carlo, Going Through, 2014-2015, video, Home Depot Store, 2015, aluminum jon boat with additional fish- 11 min. 04 sec. loop catching apparatus, 24 × 17 × 12 ft., Image credit: DHP Daedalus Correa-Carlo is an installation artist; her work Hai Phú Daedalus makes sculptures, artist consists of drawings, photography, videos, books and videos. He is a member of Critical collages and mixed media sculptures using her Practices, Inc., and publishes ebooks un- body as a point of departure. She is showing der the moniker of Lugubrious New York. Mark Hilton, Untitled, 2015, watercolor on paper, 12 × 8 in. drawings, as well as a selection of early and Currently he is developing the Illinois River newer work. Recent exhibitions include Poly/ Project, which visualizes ecology, art and com- Moving between a variety of methods
Recommended publications
  • 05/17 Artforum

    05/17 Artforum

    SUMMER 2017 ! CULTURE IS ITSELF an act of citation—of reference, response, and transformation. From Mayan iconography to Warhol, the Pictures generation to Nanook, orientalism to punk, art has copied, taken, simulated, re-created, and appropriated all manner of images, styles, texts, and experiences. When is such movement a form of resistance, and when is it a form of violence? When is speech free, and when does it harm? Such debates have long raged in the visual arts as in documentary film, sociology, anthropology, and history, but they have taken on a new cast in this time of social media, microaggressions, branding, and a vastly exploded terrain for the circulation of ideas and images. In the pages that follow, artists Salome Asega, Ajay Kurian, and Jacolby Satterwhite; scholars Homi K. Bhabha and Joan Kee; Artforum editor Michelle Kuo; and writer, artist, and activist Gregg Bordowitz examine these urgent and omnipresent politics of representation, appropriation, and power. ! Still from Katy Perry’s 2014 video This Is How We Do, directed by Joel Kefali. HOMI BHABHA: Let’s start with a proposal: I prefer translation to appropriation. The process of translation is a process of interpretation, of relocation—of producing, as Walter Benjamin says, “in another place, something new, which bares the trace of”—I won’t call it “the original,” but I will call it the anterior, the anterior without priority. Translation assumes that there is a prior state—whether it’s a text, or a prior historical moment, or a prior identity, there is something anterior to that which becomes translated.
  • Walker Art Center Annual Report 14 15 Contents

    Walker Art Center Annual Report 14 15 Contents

    Walker Art Center Annual Report 14 15 Contents Letter from the Executive Director 3 Measures of Success 11 Annual Fund 16 Acquisitions & Gifts 33 Financial Statement 42 Board of Trustees 46 Miwa Matreyek, This World Made Itself Photo: Gayle Laird, ©Exploratorium Year in Review Letter from the Executive Director BY OLGA VISO The year 2015 marked a major milestone in the Walker Art Center’s history: for 75 years it has served as a public center dedicated to con - temporary art and culture. To celebrate, we invited artists and our community to come together and join us in a series of WALKER@75 exhibitions, programs, and events that launched in the fall of 2014 and culminated with the public announcement of a major campus renovation that commenced in August 2015. At the heart of our celebration was an examination of the many questions that have motivated and guided the Walker’s work during its 75-year history. The Walker is at its core about asking questions and has from its very beginning offered spaces and plat- forms for productive dialogue and debate. This long-standing institutional commitment to creative inquiry is grounded in the belief that providing a safe space for the exchange of ideas and open dialogue about the culture around us leads to a place where growth and mutual understanding be- come possible. Celebrating WALKER@75 With generous sponsorship from Target, we invited our community to join Olga Viso us in the act of questioning, with more than 100,000 participating in the Photo: ©Walker Art Center Walker’s 75th-anniversary celebration.
  • Five Decades of Black Performance Art to Electrify New York City from Greenwich Village to Harlem Radical Presence: Black Performance in Contemporary Art

    Five Decades of Black Performance Art to Electrify New York City from Greenwich Village to Harlem Radical Presence: Black Performance in Contemporary Art

    MEDIA RELEASE CONTACT: Laurie Duke, Press Officer, Grey Art Gallery [email protected] | 212.998.6782 Liz Gwinn, Communications Manager, The Studio Museum in Harlem [email protected] | 646.214.2142 Five Decades of Black Performance Art to Electrify New York City from Greenwich Village to Harlem Radical Presence: Black Performance in Contemporary Art NYU’s Grey Art Gallery | September 10–December 7, 2013 The Studio Museum in Harlem | November 14, 2013–March 9, 2014 New York City (July 8, 2013)—This fall, New York University’s Grey Art Gallery and The Studio Museum in Harlem will co-present Radical Presence: Black Performance in Contemporary Art, the first comprehensive survey of more than five decades of performance art by black visual artists. The exhibition, organized by Valerie Cassel Oliver for the Contemporary Arts Museum Houston, will be presented in New York in two parts: Part I will be on view September 10 to December 7, 2013, at NYU’s Grey Art Gallery; Part II will take place November 14, 2013 to March 9, 2014 at The Studio Museum in Harlem. The exhibition will be accompanied by more than a dozen live performances and public programs throughout its six-month run. These include a series of performances co- organized with Performa 13, New York’s celebrated performance- art biennial (November 1–24, 2013). Providing a critical history beginning with Fluxus and Conceptual art in the early 1960s through present-day practices, Radical Presence chronicles the emergence and development of black performance art over three generations, presenting a rich and Maren Hassinger performing in Senga Nengudi’s RSVP (1975–77/2012) at Contemporary Arts complex look at this important facet of contemporary art.
  • Cveigh, Roisin

    Cveigh, Roisin

    JACOLBY SATTERWHITE b. 1986, Columbia, SC Lives and works in Brooklyn, NY EDUCATION 2010 MFA, University of Pennsylvania, Philadelphia, PA 2009 Skowhegan School of Painting and Sculpture, Skowhegan, ME 2008 BFA, Maryland Institute College of Art, Baltimore, MD SOLO EXHIBITIONS 2020 We Are In Hell When We Hurt Each Other, Mitchell-Innes & Nash, New York, NY 2019 Room for Living, Fabric Workshop and Museum, Philadelpia, PA You’re at home, Pioneer Works, Brooklyn, NY 2018 Saturn Returns, Lundgren Gallery, Palme de Mallorca, Spain Birds in Paradise, Jacolby Satterwhite, Patricia Satterwhite, and Nick Weiss, Atlanta Contemporary, Atlanta, GA Jacolby Satterwhite, Morán Morán at Statements/Art Basel, Basel, Switzerland Blessed Avenue, Gavin Brown’s Enterprise, New York, NY 2017 Jacolby Satterwhite, Moran Bondaroff at NADA NY, New York, NY En Plein Air: Music of Objective Romance, Performance in Progress, San Francisco Museum of Modern Art, San Francisco, CA 2014 How Lovely Is Me Being As I Am, OHWOW Gallery, Los Angeles, CA WPA Hothouse Video: Jacolby Satterwhite, Curated by Julie Chae, Capitol Skyline Hotel, Washington, DC 2013 Island of Treasure, Mallorca Landings, Palma, Spain Triforce, The Bindery Projects, Minneapolis, MN Grey Lines, Recess Activities, New York, NY The House of Patricia Satterwhite, Mallorca Landings, Palma, Spain The Matriarch’s Rhapsody, Monya Rowe Gallery, New York, NY 2012 Jacolby Satterwhite, Hudson D. Walker Gallery, Provincetown, MA GROUP EXHIBITIONS 2022 FRONT Triennial, Cleveland, OH 2021 Gwangju Biennial, Gwangju,
  • Curriculum Vitae

    Curriculum Vitae

    John Craig Freeman Professor of New Media Art Emerson College, Department of Visual and Media Arts 120 Boylston Street Boston, MA. 02116-4624 (617) 824-8862 phone (617) 824-8803 fax [email protected] http://JohnCraigFreeman.net Biography: John Craig Freeman is an artist with over three decades of experience using emerging technologies to produce large-scale public work at sites where the forces of globalization are impacting the lives of individuals in local communities. With his work, Freeman expands the notion of ‘public’ by exploring how digital technology and mobile networks are transforming our sense of place. Freeman is a founding member of the international artists collective Manifest.AR and he has produced work and exhibited around the world including in London, Mexico City, Calgary, Havana, Kaliningrad, Warsaw, Zurich, Belfast, Venice, Istanbul, Copenhagen, Milano, Sydney, Singapore, Liverpool, Coimbra, Basel, Paris, across America as well as Beijing, Xi'an, Singapore and Hong Kong. In 2016 he traveled to Wuhan China as part of the ZERO1 American Arts Incubator. In 2015, he was the recipient of a commission from the LACMA’s Art+Technology Lab. He has also had work commissioned by Rhizome.org and Turbulence.org and he was awarded one of the last Individual Artist Fellowships by the NEA in 1992. His work has been reviewed in The New York Times, El Pais, Liberation, Wired News, Artforum, Ten-8, Z Magazine, Afterimage, Photo Metro, New Art Examiner, Time, Harper's and Der Spiegel. Christiane Paul cites Freeman's work in her book Digital Art, as does Lucy Lippard in the Lure of the Local, and Margot Lovejoy in Digital Currents: Art in the Electronic Age.
  • Hieronymus Bosch Meets Madonna's Daughter in Jacolby Satterwhite's Epically Trippy New Video at Gavin Brown

    Hieronymus Bosch Meets Madonna's Daughter in Jacolby Satterwhite's Epically Trippy New Video at Gavin Brown

    Hieronymus Bosch Meets Madonna’s Daughter in Jacolby Satterwhite’s Epically Trippy New Video at Gavin Brown It's the artist's first New York solo show since 2013. Sarah Cascone, March 10, 2018 Jacolby Satterwhite, Blessed Avenue, still image. Courtesy of Gavin Brown's Enterprise. “I’m so nervous,” admitted Jacolby Satterwhite. artnet News was visiting the artist at his Brooklyn apartment ahead of the opening of his upcoming show at New York’s Gavin Brown’s Enterprise, and he was feeling some jitters. “My first solo show, no one knew who I was,” he added, noting that the pressure is way more “intense” this time around. Satterwhite’s first solo effort in the city was in 2013. “So much has happened for me since then, creatively, cerebrally, and critically. I hope of all of that comes through in what I’m showing.” Titled Blessed Avenue, the exhibition is a concept album and an accompanying music video showcasing Satterwhite’s signature visuals, a trippy, queer fantasy of a dreamscape, with cameos from the likes of Raul De Nieves, Juliana Huxtable, and Lourdes Leon (Madonna’s daughter, now studying dance at a conservatory). At 30 minutes, it’s the artist’s longest animation to date—although Satterwhite is already teasing an extended director’s cut, on tap to be shown at Art Basel in Basel with Los Angeles’s Moran Moran. Jacolby Satterwhite, Blessed Avenue, still image. Courtesy of Gavin Brown’s Enterprise. Blessed Avenue is also the artist’s most collaborative project to date. Satterwhite credits the many people with whom he has worked with giving him the confidence to consider his practice more broadly.
  • PRABA PILAR, Ph.D. CURRICULUM VITAE EDUCATION

    PRABA PILAR, Ph.D. CURRICULUM VITAE EDUCATION

    PRABA PILAR, Ph.D. CURRICULUM VITAE EDUCATION 2014 Ph.D. Performance Studies. University of California, Davis. Designated Emphases in Studies in Performance Practice as Research and in Feminist Theory and Research. Dissertation: Latin@s Byte Back: Contestational Performance in the Technosphere. 2006 B.A. with Honors, Intermedia Arts, Mills College, Oakland, California. ADDITIONAL NEW MEDIA EDUCATION 2015 DIY Technology Design and Creation Mini-Course. Andrew Milne. Video Pool, Winnipeg. 2014 Physical Computing with the Arduino. Ken Gregory. Video Pool, Winnipeg. Wet Lab Biotechnology Workshop. Niki Sperou. Video Pool, Winnipeg. 2007 10-week class on MAX MSP/Jitter programming. Bob Ostertag, California. 2006 Basic Robotics. Elise Baldwin, Oakland, California 2006 From Machine Language to Today: Programming Workshop. Almuzeda. Oakland, California 2004 Zapped! RFID tag creation workshop. Beatriz da Costa, Jamie Schulte and Brooke Singer. New Langton Arts, San Francisco, California 1995-2010 Numerous in digital video, digital audio and web applications. PROFESSIONAL EMPLOYMENT Workshop Leader 2018 Temporary Utopias in the Extractocene. Workshop within La Pocha Nostra Summer School: The City in Ruins, SOMArts, San Francisco. 2017 A Pluriversal Approach to Practice. University of San Francisco. For Cesar Chavez Activism Week: Arte, Accion y Activismo. 2017 Tech Safety for Activists and Community: A Free Viral Workshop. KALA Art Institute, Berkeley; California Institute for Integral Studies, San Francisco; UC Davis, Davis. 2016 Decolonizing Academic and Aesthetic Practices Workshop. University of California at Davis. For the ‘Unsettling Performance’ group of the Performance Studies Doctoral Program. 2015-16 Mapping Myself: Decolonizing Art Practices. Program design, curriculum design, and teaching Through 2-dimensional, digital and storytelling media.
  • JACOLBY SATTERWHITE: We Are in Hell When We Hurt Each Other September 24 – October 31, 2020 534 West 26Th Street, New York

    JACOLBY SATTERWHITE: We Are in Hell When We Hurt Each Other September 24 – October 31, 2020 534 West 26Th Street, New York

    JACOLBY SATTERWHITE: We Are In Hell When We Hurt Each Other September 24 – October 31, 2020 534 West 26th Street, New York NEW YORK, August 13, 2020 – Mitchell-Innes & Nash is pleased to present a solo exhibition of new works by New York-based artist Jacolby Satterwhite, We Are In Hell When We Hurt Each Other. This exhibition, which marks the artist’s first show with the gallery, will include a new, large-scale virtual reality installation as well as new works in a variety of mediums including sculpture, photography, neon and mixed-medium installation. The centerpiece of the exhibition is the debut of Satterwhite's most recent immersive, virtual reality video installation, We Are In Hell When We Hurt Each Other. In the video, after which the exhibition takes its title, the current events of our present reality permeate Satterwhite's quasi-utopic universe. This virtual world is rooted in the expression of Satterwhite's body movements, which are modeled and transcribed through digital bodysuits into animated fembot form. Current events permeate his virtual space that posits a post-pandemic, post-revolution world in which Black CGI female figures rooted in the artist's body movements use ritual and movement as tools of resistance. For over a decade, Satterwhite has used 3D animation, sculpture, performance, painting and photography to create fantastical, labyrinthine universes. Exploring the themes of public space, the body, ritual and allegory, Satterwhite draws from myriad references including Italian Baroque painting, ‘90s video games, Modernism and artworks by his mother Patricia. Patricia’s drawings and recordings have had a significant influence on Satterwhite’s work, serving as a foundation for his otherworldly works.
  • Elizabeth A. Gunderson, Ph.D

    Elizabeth A. Gunderson, Ph.D

    Elizabeth A. Gunderson, Ph.D. Temple University, Weiss Hall [email protected] 1701 N. 13th St. phone: (215) 204-1258 Philadelphia, PA 19122 http://sites.temple.edu/cognitionlearning/ EDUCATION Doctor of Philosophy, Developmental Psychology, University of Chicago 2012 Chicago, IL Dissertation: Individual differences in early number knowledge: Variation in the learner and the learning environment Bachelor of Arts, Computer Science & Psychology, Yale University 2005 New Haven, CT Honors: Magna Cum Laude, Phi Beta Kappa FACULTY POSITIONS Assistant Professor (tenure track), Department of Psychology 2013-present Temple University, Philadelphia, PA RESEARCH POSITIONS Postdoctoral Scholar, Department of Psychology, University of Chicago 2012 Chicago, IL, Laboratory of Dr. Susan Levine Graduate Student, Department of Psychology, University of Chicago 2007-2012 Chicago, IL, Laboratory of Dr. Susan Levine Research Assistant, Yale University Social Robotics Lab, Yale University 2004-2005 New Haven, CT, Laboratory of Dr. Brian Scassellati Research Assistant, Yale University Primate Cognition Lab, Yale University 2003 New Haven, CT, Laboratory of Dr. Laurie Santos EXTERNALLY FUNDED: ONGOING GRANTS NSF CAREER Award, DRL-1452000, Sole PI: Gunderson 2015-2020 CAREER: Spatial Foundations of Symbolic Numeracy Skills in Young Children Total Costs: $1,227,559 PENDING GRANTS NSF ECR, 1760144, PI: Gunderson Submitted Sept. 2017 Co-Is: Hindman, Newcombe, Newton, Weinraub Developing STEM achievement and motivation: The role of spatial skills and parent-child
  • Sustainability

    Sustainability

    Queens Museum 2018 SUSTAINABILITY Open Engagement Table of Contents A note about this program: This document, just like the conference itself, is a Front and back cover: 4 Director’s Welcome Jökulsárlón Glacial Lagoon, Iceland, 2017 labor of love split between a tiny part-time staff and a Program Design: 5 Acknowledgments few interns. Please be kind and gentle with us if Lauren Meranda, Andrés Alejandro Chavez, 6 Curatorial Statement you see an error, omission, typo, or any other human Kate Heard mistake while reading this document. 7 OE 2018 Team 8 Locations Social Media 10 Queens Info Follow us on Instagram, Twitter and Facebook Schedule @openengagement 12 Overviews Share your posts from this year with #OE2018 18 Featured Presentations #OpenEngagement 19 Pre-Conference Find further details at 20 Open House www.openengagement.info 23 Saturday Parallel Sessions 26 Conversational Dinners OEHQ 28 Sunday Parallel Sessions OEHQ (information and registration) is our conference 31 Parties & Projects hub! OEHQ is the place for the most up-to-date 33 Open Platform information about the conference throughout the weekend, including any schedule or location changes. 36 Trainings Bronx Museum of the Arts Friday, May 11th: 6:00pm - 7:30pm 37 Featured Presenters 38 Contributor Bios Werwaiss Family Gallery, 2nd Floor, Queens Museum Saturday, May 12th: 9:00am – 5:00pm 42 Schedule at a Glance Sunday, May 13th: 9:00am – 4:00pm 2 3 Director’s Welcome Acknowledgements It is 6:12am and I have been in bed thinking about writing this I wish I could talk to Ted about where we are now.
  • Mapping a Green Future

    Mapping a Green Future

    MAPPING A GREEN FUTURE Center for Contemporary Arts October 9 - November 21, 2009 CENTER for CONTEMPORARY ARTS 1050 Old Pecos Trail, Santa Fe, NM 87505 505.982.1338 www.ccasantafe.org The Center for Contemporary Arts [CCA] was established in 1979 as a venue for the pursuit of cultural practices fostering ideas and collaborations in multidisciplinary contemporary art with a focus on the intersection between visual and media art, performance, and film culture. This project is made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endow- ment for the Arts. ARTISTS Andrea Polli + Chuck Varga Jenny Polak Jenny Marketou Basia Irland Joan Myers Catherine Harris Bill Gilbert John Fogarty + Lea Rekow Beatriz da Costa Eve Andree Laramee Brooke Singer Claudia Borgna CLUI PRESENTERS Bioneers New Energy Economy AIA 516 Arts WITH SUPPORT FROM George and Fay Young Foundation Land/Art Vision: Shift Tyler Rogers Mapping a Green Future Curated by Lea Rekow October 9 - November 21, 2009 Muñoz Waxman Gallery, CCA Opening Reception - Friday, October 9th 5:00pm - 7:00pm To be opened by the Mayor of Santa Fe, David Coss Lecture by John Fogarty Performance by Little Globe CCA is proud to present Mapping a Green Future, an exhibition that looks toward the promise of sustainability, and the challenges we currently face. The connection between the automobile, life and air is explored through Andrea Polli and Chuck Varga’s Cloud Car. Polli’s weather station, Hello, Weather! attempts to de-mystify the collection and use of weather and climate.
  • Download PDF of CV

    Download PDF of CV

    Productions & Exhibitions 2019 Web-Retro, SeMA, Buk-Seoul Museum of Art, South Korea 2018 NEGOCIO, Caja Blanca del Centro Cultural Las Cigarreras, Alicante, Spain curated by David Machado Gutierrez, Alba Garcia Martinez, Beatriz Martinez-Villagrasa, Miguel Soria Andurell Future Perfect, curated by Nadav Assor, Hygienic Art Gallery, New London, Connecticut as part of Intersections: the 16th Biennial Symposium on Arts & Technology, Connecticut College OS 2018, curated by Flavia Souza, The Clemente Soto Velez Cultural and Educational Center, Manhattan, NY 2017 Art In Odd Places, El Museo del Barrio, NYC, curated by Nicolás Dumit Estévez Raful with Rocío Aranda (El Museo) and Jodi Waynberg (Artists Alliance Inc) Stronger Together, Knockdown Center, NYC, curated by Leaders in Software and Art (LISA) Interface/Landscape 2016 New Media Exhibition, Ithaca College, NY, curated by Claudia Costa and Dale Hudson for the Finger Lakes Environmental Film Festival 7th International Video Art Festival Camaguey, Cuba, curated by Jorge Luis Santana Unnatural Election: Artists Respond to the 2016 US Presidential Election, Kimmel Galleries, New York University, curated by Andrea Arroyo 2016 CURRENTS 2016 International New Media Festival, El Museo Cultural de Santa Fe, NM curated by Mariannah Amster and Frank Ragano Lettuce, Artichokes, Red Beets, Mangoes, Broccoli, Honey and Nutmeg: The Essex Street Market as Collaborator, Cuchifritos Gallery + Project Space, curated by Nicolas Dumit Estevez 2015 Electronic Arts and Video Festival Transitio_MX,curated by