Skowhegan School of Painting & Sculpture 200 Park Avenue South, Suite 1116, New York, NY 10003 SKOWHEGAN

Non-Profi t Org. Journal U.S. Postage PAID New York, NY 2013 Permit No. 6960

Founded in 1946 by artists for artists, Skowhegan School of Painting & Sculpture is one of the country’s foremost residency programs. The intensive nine-week summer session, held on our nearly 350-acre campus in Maine, provides a collaborative and rigorous environment for artistic creation, risk-taking, and mentorship, by creating a fl exible pedagogical framework that is informed by the School’s history and responsive to the individual needs of each artist. Skowhegan summers have had a lasting impact on the practices of thousands of artists, and the institution plays an integral role in ensuring the vitality of contemporary artmaking.

2014 Session June 7 – August 9

Application opens November 2013. Due February 1, 2014.

1 2 From the Board Leadership

Dear Friends,

We are pleased to share the second edition of the Skowhegan Journal, and think you will enjoy the artworks and essays offering insight into some of the pivotal projects that have occupied Skowhegan over the last twelve months. In its 67th year, Skowhegan remains a leading opportunity for emerging visual artists, and as a member of our extended community, we thank you for supporting the future of artmaking.

If the image to the left seems decidedly unSkowhegan, think again. We are thrilled to report that Skowhegan acquired a permanent home in New York. This rendering is the new façade of an approximately 4,500 square foot space at 136 West 22nd Street in Manhattan that will house the offi ce as well as publicly accessible archives and a fl exible meeting/programming space. Skowhegan has over 700 alumni and faculty artists living in and around New York, and we are incredibly excited about the prospect of carrying forward some of the distinctive intergenerational exchange found in Maine to the broader art community.

On campus, we are not short of buildings—nearly 80 now dot upper campus and hug the lakeside. The specifi c landscape informs our understanding of Skowhegan as both a place and an experience, and this year we commenced a campus assessment to catalogue the state of each building, understand our capital needs, and identify sites for future studios, dorms, or common buildings if and as the need for them arises.

One building that looms large at Skowhegan is the Fresco Barn. Redolent with history, it is our gathering place and our performance space, and this Trustees’ and Governors’ Weekend we were seated together when the heavens erupted during Kate Valk’s Mellon lecture, shattering three windows and blowing the power on campus. It was an appropriately awesome and dramatic setting for an artist who has spent her career dissolving the fourth wall and expanding the stage, but we were equally struck by the response of the attendees who, captivated by Valk, huddled closer and illuminated the speaker with dozens of cell phone screens. It was a magical moment, a Skowhegan moment, that was indicative of the total engagement that characterized campus in 2013.

If Skowhegan is nothing without the energy and talents of the participants and faculty artists, it is equally lost without the commitment and fortitude of the year-round and campus staff. Additionally, we are happy to welcome new members to the Boards, Eleanor Acquavella Dejoux and John Melick as Trustees, and Louis Cameron and Guillermo Kuitca as Governors. Their ability, knowledge, and commitment will further our ability to keep Skowhegan strong today and in the future.

Please keep an eye out for the opening of our space in New York, and we look forward to seeing you at a Skowhegan program or event soon.

Ann Gund Dave McKenzie Chair, Board of Trustees Chair, Board of Governors

Greg Palm Maria Elena González President, Board of Trustees Vice Chair, Board of Governors 1532 Hours in Maine

On the fi rst day of summer the weather was perfect. As participants arrived on campus, the sky was bright with picture perfect clouds. That was the last day we would see the sun—for a long while. The following weeks were not just rainy; they were fi lled with torrential downpour, and the “getting to know each other” phase was stunted by the need to stay dry. So, the class of 2013 had to employ some ingenuity to transcend these tough conditions.

This adaptation included activities focused on being inside, like the Lorraine O'Grady reading group in the library and the Charles Atlas fi lm group in the barn. Similar activities are present every year, but the need for designated places for moments of exchange set the tone for the whole summer. After the fi rst three weeks, I met with the faculty to discuss the remaining six, collectively deciding that each would design a seminar of sorts as an extension of their practices, and focused on the campus zeitgeist. We all met in the sun for a Town Hall where we introduced the groups and charged participants with setting their own programmatic course. What resulted were groups upon groups upon groups—65 individuals stretching themselves (sometimes literally) to perform aspects of other’s interests as an expansion of their own. Some mini-communities gathered weekly, others just once; some were entirely serious, and some found that playfulness or physicality were the right way to approach experimentation.

In this Journal, you will experience the unstoppable energy distinct to these 65 generous individuals. As an introduction to the whole Matthew Brannon presents a map of a collectivity, where no daily task is separate from living, working, breathing, thinking, and making. Concentric circles might be drawn around sets, sub-sets, and sub-sub-sets of overlapping interests and outliers, where the outermost circle is both a location in time and physical boundary of campus. You'll fi nd documentation of The Drift, where Marie Lorenz and 25 participants broke the boundaries of campus to canoe down the Kennebec River. Likewise, you will read about Sheila Pepe’s breach of our own particular moment in time through the voices in our singular Lecture Archive. Each and every moment this summer, in isolation, is its own event, just as each and every individual on campus is his or her own person, but when viewed in the longue durée, everything experienced was of a whole.

—Sarah Workneh Co-Director

Semi-semiotic M(n)apping (2013) Matthew Brannon (F '13)

3 The Drift One thing held these different projects together: the immediacy Christopher Meerdo (A '13) of responding to notions of atmospheres and the aimlessness that prompted them. We can consider these ruptures of passage as ways of pointing, of observing, of catching and releasing. Each bald eagle we passed caused a chorus of participants shouting “Rald Reago!” – a portmanteau of “Bald Eagle” and “Rodrigo” – a fellow participant (who is also lovingly commemorated on the year’s group t-shirt). Inside jokes abound, but in these moments of pointing, we can reconfi gure epistemological cartographic systems into a psychogeographic reformulation of memory and joy.

Later in the summer, I produced a television show in collaboration with Lindsay Lawson that aired on the local public access channel and was viewed by the school at the Southside Tavern in town. In the episode, Wesserunsett, the visible TV crew and our tour guide fellow participant Daniel Petraitis embark on a Dérive of our own, wandering the grounds of Skowhegan and pointing out objects and spaces, providing misleading and false information about the school. In the piece we address the tightly controlled myth of Skowhegan but also position ourselves as full participants in the reaffi rming of that mythology. The fi lm includes a concluding section of 3D scanned Skowhegan environments that produce a digital/mediated/simulacra Dérive that considers more the act of pointing and observation within a psychogeographic space. Through technological simulation, we consider the role of the contemporary Dériver. Can Debord’s prompt be activated through virtual means when those same modes of virtualization are responsible for the rigidity and predictability of our contemporary environments? I think perhaps I should have been live tweeting from my canoe.

In Theory of the Dérive, Debord reasserts an old Marxist theorem Aimlessness is a quality that has profound aspects of civil disobedience when theorized within the correct “men can see nothing around them that is not their own image; framework: as a technique for an anti-dominant ideological critique through the means of the Dérive. everything speaks to them of themselves.” Anthropocentrism aside, Within Debord’s framework of prompting us as social revolutionaries to remap our monotonous The Drift and Wesserunsett occupy different psychologeographical environments within a psychogeographic context, we can create multiple modes of experimentation, play, spaces. Both consider contrasting modes of moving through and co-optation through his basic framework. This summer, I and 24 others from Skowhegan descended atmospheres and the resulting documentation, but the two raise upon the Kennebec River with this prompt in mind. In the small hours of the morning, bound by new the same question that lies at the heart of the methodology of the friendships and matching pink watershoes from Walmart, we launched ourselves into the dense fog of the Dérive: what does the act of pointing tell us about ourselves and morning mist. With Marie Lorenz at the helm, our Dérive brought us to islands, inlets, rapids, embankments, the way we operate within the dominant frameworks that Debord hydroelectric dams, socioeconomically challenged pizza parlors, the rubble of post-industrial logging impels us to explore? XO bridges, and an '80s metal cover band concert. Along the way we fl oated in tandem, alone, backwards, euphoric, constipated, weary, and above all, with enthusiasm and anticipation for our Drift.

As individual makers, our response to the expedition varied: a collaborative drawing tossed into the river in a bottle as a time capsule, accordion shaped drawing pads with refl exive graphite drawings, a tribute song to the Kennebec, a collection of river articles and other ephemera, the contact-microphone recordings of an oar, a rock splash, and an archive of photos and videos.

Jordyn Oetken, Fleet (The Naming) (2013), markers from Skowhegan break room on paper Daniel Giles, Souvenir (The End) (2013), inkjet print and pencil on paper

4 5 The Drift: Day One

Marie Lorenz (A '04, F '13)

The Drift: Day Two

Marie Lorenz (A '04, F '13)

July 31, 2013

This is the tent that May built. She used driftwood and paddles as tent poles, and it slept six people comfortably.

Skowhegan, SKOW, SK#... 2K13 “teaching” out of the picture. So I began searching for new one of the more indelible memories of my summer. As Lippard’s information and new ways to convey my values and priorities to words fi lled our space, we heard the descriptions of both ancient and Sheila Pepe (A '94, F '13) the group. I quickly realized that the stunning — and now fully contemporary works, situations and projects that set aside the term digitized – Skowhegan lecture archive would provide the key. “art” in pursuit of meaning. Those of us who had read the book when it fi rst came out enjoyed this re-boot of Lippard’s ideas in her own For my seminar, we came together and learned how to wield yarn voice, as well as the surprise that registered on younger faces when with a small hook and nimble fi ngers. At fi rst I tried sharing some texts hearing about social, cultural, political and performative works that meant to be read in tandem with the handwork, then quickly realized predate current didactic terms. that this was way too much like graduate school. A night spent on beers and ping-pong or reading on craft – which would they choose? The recorded Q+A was long and fascinating. The fi rst participant’s A number of people wanted to listen to music while we crocheted. question prodded Lippard to take a traditionally critical stand in So, we listened while we worked — not to music, but to selections relationship to “works of art.” In response she asks,”…what is the from the Skowhegan artist lectures. History is important to me; using critical thing? Is it about going into a magazine having seen 5,000 the Skowhegan archive meant that I could personalize art history striped paintings and saying ‘this striped painting stands up very well through the voices of those who had come before, especially for those in relationship to other striped paintings’ – or ‘wow that really does me participants who viewed history as an anonymous platform upon in!’?” She goes on to express a deep questioning of her practice, which to build. I threaded together a series of talks that pivoted one revealing an intellect willing to challenge her role as critic in order to upon the other through a series of specifi c “mentions,” starting with fi nd signifi cant cultural experiences. the lecture given by Governor and visiting faculty member Byron Kim. That night, thanks to Lippard and to the other artist-lecturers that Prompted by Byron’s admiring citation during his own lecture, we listened to over the summer, I could leave behind my role as we listened to Ad Reinhardt’s 1967 lecture as we worked. For the teacher. I could point to the brilliance of my predecessors’ words participants, it brought history much closer; for me, it was both to show my new mentees what is important to me as an artist. What thrilling and comical to see a bunch of people crocheting to Reinhardt. better way to show how relationships function in time, how people The intent in using these lectures was not to teach historical context change ideas and work. If we are lucky – we help each other towards as such, but to individually expand the intricacies of art tropes, meaningful evolutions. That’s history. It’s the thing into which practices and relationships. So where could we go to further explore we work so hard to be included. these layers of complexity — not just in my work as I did in my own public lecture — but in the universe of works and their relationships I am not sure exactly when Skowhegan stopped being a school in time? Luckily Reinhardt gave me a precious lead. During his lecture, that predictably supplied an alternative to contemporary higher When was the last time you said the entire name of Skowhegan School of Painting and Sculpture? he cites Lucy Lippard with a hint of pride and affection, quoting her education curriculums. No doubt answering that question requires When I talk, I say “ Skowhegan,” or sometimes, “Skow” (my siblings called me “Sheil” for decades). description of his work,“ …these were the fi rst of the last paintings – a deep understanding of the teaching philosophies that grew up I really like the anachronistic parts of Skowhegan’s full title — they speak to my fondness for fi xed, but leaky or the last of the fi rst paintings.” It was a perfect segue. and around Skowhegan over the years. In the end, one thing is clear categories like “painting” and “sculpture,” and a pastime of slowly spinning words in my head for inspection. to me: the unparalleled, ongoing 50+ year collection of diverse In this case, mentally rotating the term “school” against an array of possible “Skowhegans.” Lippard’s capacity for holding exquisite contradictions in hand, voices that is the Skowhegan Lecture Archive, how these voices have while sharing aspects of her own intellectual evolution, provided come to be accumulated, and that they have been preserved, None of my notions of “school” ever match up to Skowhegan in the here and now. Yet retaining the word the next listening material for the group. We would listen to Lippard’s stands as the pedagogical core of this school and is what sets in the title proves valuable in a numbers of ways — it marks a history, honors connections and hopefully 1979 masterful lecture (including knocks on the lectern to cue the it apart from all others. ensures that the place does not take a short turn as a social sculpture of pedagogy. The use of the term next slides) in which she presents ideas later published in her 1983 “school” refl ects a long-practiced expectation of learning rather than teaching in the traditional sense. For, book: Overlay: Contemporary Art and the Art of Prehistory. I had a unlike most schools (no matter hard they try!), Skowhegan fosters a state of learning for all of its participants, hunch the New York participants might have seen the Brooklyn from the 65 accepted into the program, to the resident and visiting faculty, to the deans and staff. Museum’s landmark exhibition “Materializing ‘Six Years:’ Lucy R. After my summer as a Skowhegan participant in 1994, I discovered my ability to sustain a life of making and Lippard and the Emergence of Conceptual Art.” I wasn’t sure if they thinking. I knew I would live as an artist/teacher, a hybrid that has served my studio well. For twenty years, knew that she had written such classics as Ad Reinhardt (1981); my aim has been to keep parallel tracks of inquiry feeding each other in a tortoise-inspired path toward From the Center: Feminist Essays on Women's Art (1976) or Eva equally great works in different domains. So serving as resident faculty this past summer was pure bliss as Hesse (1976), to name but a few. And yet I knew Overlay would be it combined these two important forces in my life. The demand that one immerse oneself in hard work and a critical fi nd because of its relative obscurity and more important— risk reinvention lies at the heart of the Skowhegan experience. It’s an exalted state of learning available to how it intersected with so many of the ideas fl oating around campus. all who would grab it, no matter what level of experience they arrive with. It was a rare perfect Maine evening and we lay out on the grass I began my role as faculty inside the intergenerational and international group with a simple mix of hugging in front of the Fresco Barn, listening and passing around the book. and prodding. I played my part as the older artist with a long, unusual collection of experiences, someone As the bugs began to bite, we paused the lecture and went inside. Left: Joiri Minaya, Michael Royce, Anthony Iacono, and Luis Alonzo Above: Ad Reinhardt lecturing in the Fresco Barn, 1967 who loves history and, perhaps most important, who is not afraid to be out of sync with or ignorant of The image of participants, resident and visiting faculty, all listening popular trends and opinions. As an experienced educator, I wanted to take the prescribed notion of intently, stretched out on benches or seated with yarn-fi lled laps is

10 11 12 13 Trustees’ and Governors’ Weekend 2013 Participants

Trustees, Governors, alumni, neighbors, and friends came together in Maine, July 19–21, for a weekend celebration of Skowhegan’s program. Highlights included the revelrous costume ball, a lecture by Kate Valk, studio visits, dinner at Red Farm, and a visit to the new wing at Colby College Museum of Art.

01 02 03

Samantha Adler de Oliveira Zachary Fabri James Inscho Harold Mendez Omar Rodriguez Graham Luis Alonzo Mauro Giaconi Kristian Blomstroem Joiri Minaya Michael Royce Trevor Amery Daniel Giles Johansson Stacy Mohammed Vabianna Santos Jonathan Armistead Gordon Hall Nicholas Johnston Michael Muelhaupt Avery Singer Prerna Bishnoi Shadi Harouni Ian Jones Lavar Munroe Becky Suss Julia Bland Joshua Haycraft Megan Liu Kincheloe Michaela Murphy Walter Sutin Milano Chow Tzion Hazan Gary LaPointe Jr. Jordyn Oetken Erik Swanson 04 05 Oreen Cohen Sarah Hewitt Lindsay Lawson Benjamin Pederson Sarah Tortora Danilo Correale Shana Hoehn Megan Ledbetter Sondra Perry Leila Tschopp Xavier Cunilleras Mira Hunter Nancy Lupo Daniel Petraitis Rodrigo Valenzuela Cristina de Miguel Adelita Husni-Bey Mores McWreath Ralph Pugay Seneca Weintraut John Dombroski Anthony Iacono Christopher Meerdo Ronny Quevedo May Wilson Anastasia Douka Sacha Ingber Fabiola Menchelli Tejeda Jaime Eduardo Restrepo Yunyi Yi Lindsay Zappas

2013 Faculty

06 07 08 Resident Visiting Tommy Lanigan- Paul Mellon Faculty Artists Faculty Artists Schmidt (F '91, '92, '97) Distinguished Fellow Matthew Brannon Derrick Adams (A '02) Dona Nelson Kate Valk 01 Governor Jane Hammond (F '92, '05) and Craig McNeer in the Costume Ball photo booth 02 Campus offi ce 03 Michael Royce and Sacha Ingber displaying the Weekend’s totebag 04 Trustee David Beitzel (A '82) walks with a participant near the Fresco Barn 05 Abby Shahn, Mary Armstrong (A '77) Marie Lorenz (A '04) Charles Atlas Lorraine O'Grady (F '99) Sheila Pepe (A '94, F '13), and Stoney Conley (A '77) at the Red Farm Dinner 06 Kate Valk's lecture in the Fresco Barn 07 Mores McWreath and Sheila Pepe (A '94) Chitra Ganesh (A '01) Trevor Paglen Ralph Pugay in Bermant Lab 08 Guests enjoy sunset on the lake RELAX Byron Kim (A '86, F '99) Mickalene Thomas (chiarenza & hauser & co) 14 15 136 West 22nd Street

Space Plan Katie Sonnenborn

One of the fi rst items I was charged with as Co-Director was fi nding a space for Skowhegan in New York City. At a practical level, this seemed feasible: real estate is familiar territory. At a philosophical level, the challenge was formidable: how could we appropriately locate Skowhegan in New York when our base understanding of its history, program and purpose is inextricably tied to the physical and phenomenological experience of being on campus?

As we worked with the New York Committee (Trustees & Governors) to parse out priorities (use, space, location, price) and conferred with members of the Alumni Alliance over programmatic objectives, a consensus coalesced over snacks at Joyce Kozloff’s loft: we needed a kitchen. For if New York was going to serve as the off-site home for the extended Skowhegan family, a metaphorical “hearth” would be crucial to its success.

Dozens of properties were considered, but West 22nd Street inspired immediate confi dence despite being a pretty big mess (in previous lives it was an elevator repair shop; a tile and fl ooring store; and a photo processing lab). The 1907 warehouse building has a sense of history; a strong relationship to the street; and an open fl ow across two fl oors that offers a fl exible framework for our programmatic and administrative requirements.

From the beginning we spoke of the space in familial terms, as a “home” for Skowhegan. The plans, illustrated at right, are beginning to be realized. They include the requisite kitchen, communal gathering points, a quiet nook, and invite a transformation that anticipates Gaston Bachelard’s axiom that all inhabited environments assume qualities of the domestic. Certainly this is true at Skowhegan where we have made agricultural buildings our own, and it is also a fi tting description for Alan Wanzenberg’s approach to architecture and his intuitive understanding of how people occupy their surroundings. With his colleague Seky Gomez, Alan has designed a porous and integrated space on West 22nd Street that we envision as a place to continue the active exchange found on campus. Without Alan or Rick Prins, who spearheaded and shepherded the purchase, and the full support of the Boards, this new addition would not exist.

When we move, many people will say that you cannot really know what Skowhegan is unless you go to campus. And while that is true, it will also be true that the experiences offered up through Skowhegan’s outpost will forge a meaningful connection to its distinct mission and purpose. This is crucial to our future. It has been challenging for Skowhegan to demonstrate what it does, or who it is, outside of campus, and over the past year both Trustees and Governors have stepped forward to ensure that Skowhegan’s contributions are more broadly understood. Don Moffett, Bob Gober, and David Beitzel are particularly effective in articulating the necessity of Skowhegan in the broader art world, and under their leadership an extended circle came together through the Awards Dinner to affi rm that Skowhegan matters. This commonality defi nes and empowers us, and will enable this community—which is as complex and loaded as the various contributions set forth in this Journal demonstrate—to survive and to thrive.

Space Plan as of September 2013, Alan Wanzenberg Architects

16 17 Winter Will Keep Us Warm I have been thinking about this new space that Skowhegan fi nally owns for a long time and what it means to Sarah Workneh be part of a place like Skowhegan—why it’s so transformative in its bounded time, its bounded community (and when I fi rst arrived if it is, indeed, that transformative). What is the scope of that transformation and is it limited to the time we are in Maine or does it exist only as a ghost trace (another linguistics term)? Is it I have been reading Wayne Koestenbaum’s most recent book My 80s and Other Essays. In an essay a place? Is it a nostalgia? Or is it an idea and a commitment that can live outside a specifi c location, time, in memory of Eve Kosofsky Sedgewick, he talks about her use of the poetic concept of enjambment, or group of individuals? As each summer draws to a close, I tell the participants that the most important a term, as a non-poet, I hadn’t ever encountered. Koestenbaum: “Enjambment—reaching toward part of Skowhegan is that it ends, but perhaps that’s not actually true. Yes, being in Maine ends, and being the brim, and then exceeding it.” with a closed set of 85 people ends, but we also know that there exists an historical thread that links us all together (and is frankly, our foundation) and a telescoping to a future of artists that we don’t yet know that In poetry, (I am going admit that for the purposes of time and deadlines, I googled these defi nitions) it can will also share in this experience. Enjambment. mean: the continuation of the sense of a phrase beyond the end of a line of verse (Encyclopedia Britannica); a straddling (Collins English dictionary); the running-over of a sentence or phrase from one poetic line to This all sounds like abstract romance—so as is the favorite question we ask during the admissions process: the next, without terminal punctuation; the opposite of end-stopped (The Poetry Foundation). where is the content? As you will read in subsequent pages, the notion of community is not enough to serve as content at this point. I will be honest that when I invited Park McArthur and Dan Levenson to write about T.S. Eliot uses it in the fi rst stanza of The Wasteland: the new space in the context of what it could offer our community, I had specifi c ideas of what I wanted April is the cruelest month, breeding them to say. I wanted it to be a challenge to us all to think about uses of space, to consider how we, not Lilacs out of the dead land, mixing Skowhegan with a capital S but all of those who are part of Skowhegan, could use the space and this Memory and desire, stirring moment to reconsider our participation in the life of Skowhegan. To activate those Gramscian theories that were so popular this summer, where we as an engaged community have the opportunity to set our own Dull roots with spring rain. discourse and ask the questions about how we talk and think about contemporary practices. When Dan Winter kept us warm, covering and Park returned with the very staunch and very necessary challenge to notions of community, I felt a little Earth in forgetful snow, feeding defl ated, and frankly a bit naïve.

A little life with dried tubers. As I think about the moments on Skype with the two of them, trying to make my ideas and wants clear, and listening to each of their specifi c challenges and in negotiating differing opinions, struggling with up Apparently, William Carlos Williams’ whole poem Between Walls is an enjambment: against these two great thinkers, I realized this discussion, perhaps even more so then the end result, the back wings is exactly why I believe that this is new space is so necessary—beyond the pragmatics of offi ce rent and of the square footage, beyond simply not wanting to haul chairs across the city to offer a lecture, and beyond clogging up the existing and abundant environment of "cultural production" with more programming. hospital where This type of frustration and challenge and patience is actually what the transformation really is about. nothing We cling to Skowhegan because we cling to the freedom of ideas that is so, so diffi cult to fi nd outside— because of time, because of money, because of the market, and because of how we relate to each other will grow lie in the real world. cinders This space, as a proposed enjambment of whatever the hell it is we do for nine-weeks in Maine each in which shine summer, is an intellectual space and gathering of generosity, and in many ways an expression of care the broken for the practices, ideas, and explorations of those we may not know, but who are likewise in this nebulous pieces of a green space beyond the brim and who have also experienced this hiccup from one line to the next. While this is bottle not an experiment in social practice or a way to fi x the world through artmaking as social justice, it is our job as engaged thinkers to push beyond what we know. That is what I think Skowhegan, from June to August is really good at. And as an organization of artists who are, whether through mythology or reality, Even still, perhaps the most meaningful defi nition, for me, is this: the breaking of a syntactic unit or a clause the most forward thinking in our fi eld, we should commit to that constant process of inquiry. It doesn’t over two or more lines without a punctuated pause (Princeton). I have a degree in Linguistics—Chomskyian always end up the way you think it will, and that of course, is the point. Linguistics at that, where ideas about language structure always are applicable on a larger scale (appar- ently Kosofsky Sedgewick also liked to stretch the capacity for theory by applying them across disciplines). Skowhegan is once in a lifetime…it is summer…it is 65 people, but what we learn from Skowhegan, Notions of scope and hierarchy, in linguistics, are crucial to understanding how meaning functions. In what what we can extend out of Skowhegan can now, in winter, keep us warm. is known as Government and Binding Theory, we are able to parse complex sentences because there is an internal structure to syntax where despite distance, meaning is still retained.

This idea of stretching is interesting when we consider this physical break that happens each summer when we leave Skowhegan. This time of the year, this letter every year, is a moment when we refl ect on the power of that break—what it means to come home, what it means to reestablish a practice, what it means to be without proximity to the people and ideas with whom and with which we have just spent nine-weeks.

18 19 Skowhegan Burial Society How Comes Community

Dan Levenson (A '09) Funeral and Burial Instructions of______. Park McArthur (A '12) [Artist Name] To Whom It May Concern: I have completed this document to provide instructions concerning Community is a major concept with which visual art now contends. Like the ready-made, like the We are a lonely society. Most of the time we’re working or |my funeral and burial arrangements and/or requests. struggling to stay afl oat and in between we comfort ourselves document, like audience, like market, community is, among other things, a locus of creative activity as [ ] I have not made funeral and/or burial arrangements with haphazard friendships, professional networks, family and [ ] I have made funeral and/or burial arrangements with: well as a subject of art history. The rise in art’s attention to community since the 1970s occurs alongside possibly marriage. We call these things “communities” even Name:______two related developments in the social fi eld: one, a streamlining of the non-profi t entity as a container for Location of my signed agreement:______imagination and social change. And, two, the acceleration of critical theory’s attention to philosophies of though they are all disconnected, fragmented, and don’t really [ ] The funeral will be held at: ______support us. Your co-workers might like you a lot and meet you Address: ______Telephone: ______communal organization (an acceleration which grew, concomitantly, with contemporary art’s increased for a drink every now and then and they’d be sad if you got sick [ ] The following religious observances will be conducted: attention to theorists such as Edouard Glissant, Giorgio Agamben, and Jean Luc Nancy). ______but you can’t expect them to pay your medical bills or bring you [ ] My remains shall be embalmed As recipients of this Journal—as staff, alumni, funders, and board members of Skowhegan—we can, and chicken soup or mop your brow when you have a fever. In our [ ] There be an open casket [ ] There be a closed casket [ ] A viewing or wake will be held at: ______perhaps do, think of ourselves as a community. As people committed to, thankful for, and surprised by the society we are forced to support ourselves. [ ] My burial clothing/jewelry will be:______[ ] Flowers for my funeral will be: ______proposition of providing artists the ability to live nine weeks on a former farm in New England, we represent [ ] The pallbearers will be: ______[ ] I wish to have a burial, and for the burial request that: an array of interests, beliefs, and experiences whose relations to Skowhegan are variable, contradictory, The idea of a Skowhegan Burial Society emerged during [ ] The following religious observances will be conducted: even antagonistic. Skowhegan is not one thing or a thing, but a heteroglossia. And it is by understanding a conversation between Sarah Workneh and a group of recent ______[ ] I will be buried at: Skowhegan-as-composite that we can establish the idea of Skowhegan community not as fact or entity, Skowhegan alumni following Hurricane Sandy. Sarah’s idea Cemetery:______but as possibility. was to brainstorm ways in which Skowhegan could possibly Address: ______Telephone:______[ ] I wish to be cremated, and I request that my cremated remains be: provide material support for artists affected by natural disasters. [ ] Placed in a columbarium or mausoleum The possibility of community is not carefree. Kellie Jones, Martha Rosler, Dave Beech, Mike Davis, I suggested (only partially jokingly) that we might consider [ ] Buried in a cemetery plot [ ] Retained at the home of: ______and Claire Bishop have all, using their own terms, thought long and hard about visual art’s renewed setting up a burial society, since these can be seen in some ways [ ] Stored in a house of worship / religious shrine, if local zoning laws allow interest in community. The phenomena that these writers, artists, and historians track mandate that as ancient precursors to modern insurance companies. When [ ] My ashes are scattered in accordance with local laws we think about the idea of community in relation to the closing of community hospitals, the privitization Skowhegan alumni pass away the expenses and arrangements [ ] The religious observances to be conducted will include: ______of community services, and the yet-unknown and myriad effects of community development corporations. would be taken care of by the society. I wish to have a: [ ] Memorial [ ] Monument [ ] Marker Community, as a discourse, as an idea, functions to take up the hopeful remains of the public and with the following instructions:______publicness. It, at the same time, oversimplifi es the causes and effects of the lack of public services, Following this Sarah asked Park McArthur and me to begin I wish that the following service(s) take place: and, most offensively, the historical and economic events that fi rst brought these services into being. a conversation about what possibilities we could imagine for [ ] Funeral Service [ ] Casket Burial [ ] Memorial Service, Community, as a series of relations born out of group-protection, group-struggle, group-identity, and Skowhegan’s new space in Manhattan. Via Skype we had several [ ] Service at Disposition of Cremated Remains, conducted by: Name: ______group-pleasure, has become something to preserve, to create, and to fi ght on behalf of. These fi ghts are conversations covering a range of topics, beginning with our [ ] Instead of flowers, donate to the following charities or causes: both intra- and extra-communal. Today, these fi ghts often come under the purview of a professionalized very different experiences at Skowhegan, to the question of the ______entity such as a nonprofi t. Nonprofi ts and hybrid government bodies with diverse and often antithetical artist’s role in society, questions of the possibility of community, The following should be included: [ ] Music: ______[ ] Readings/Scriptures: ______goals all use community as a term to rally around. Similarly, museums and the artist-run spaces have of organization, of mutual aid, of the individualism of artists, [ ] The following person(s) speak publicly at the service(s): taken up the concept of community as a space to exercise the mandate of engaging audiences, providing of the new trend of “social practice” in art, and of the very real ______[ ] The following person(s) not speak publicly at the service(s): knowledge, and manifesting cultural credibility. Following the lead of progressive nonprofi ts, art institutions social antagonisms that institutions like Skowhegan must work ______of all sizes have designated community as the place for imagining what is to be done. From community to paper over. I proposed an idea about which I am still uncertain. [ ] I have written my obituary, and it may be found at: ______days, to community involvement, to an “art world” that insists on the presence of “art communities,” My idea was that the central function of art and the function of [ ] I have not written my obituary, but hope that it includes: we experience ourselves in relation to the idea of community, virtual and otherwise: as part of, as partial Skowhegan are similar. Both can ask questions about what is ______to, or, simply as apart. Community, has, as such, become the only viable reason to do anything socially, possible in society. At best they can help us to imagine possibilities [ ] Arrangements referred to in this document have been prepaid to: Name: ______economically, and increasingly, artistically. that we had not previously seen. But when art, (in the form of social Address: ______Telephone: ______practice) or Skowhegan (if it ever did attempt to become a burial [ ] I have set up a joint or pay-on-death account at: Why, then, discuss community in relation to the opening of Skowhegan’s new space on 22nd street society, for example) attempt to immediately realize their idealisms Institution Name:______between 6th and 7th Avenues in Manhattan? Partly, because the question of how community might Address: ______Telephone: ______beyond what our essentially non-cooperative society can support, [ ] Written instructions concerning donation of my organs and manifest in our day-to-day lives today and tomorrow, rather than as a summer memory, is of great good intentions can lead to bad results. tissues may be found at: ______importance. Partly, in order to recognize that we need the idea of community much more than it needs [ ] The ethical will I have written that spells out my values and us. Partly, to emphasize that the aspirations and needs that constitute Skowhegan form its possibilities, views about life may be found at: ______This is not to say that nothing real should be attempted, that we [ ] My additional wishes or thoughts are: ______and that these possibilities, prefi gured and exceeded by the nine weeks (or more) of actual Maine time, should satisfy ourselves with image-making and not attempt real I direct my chosen agents, family members and/or other make Skowhegan what it is and, perhaps more importantly, what it can be. And, partly, to propose that, social change, just that we should be aware of the enormity of responsible persons, to take all steps necessary to carry if we choose to depend on such a term to describe the relations we seek, then we do so with a great out the above instructions. the task. In creating a community, in creating a space of possibility, humbleness for what that term means and how it is employed. If we are to propose community as an Dated: ______we should be aware of the context in which we are operating. Printed Name______expansive horizon of action and possibility—as a place to fi nd the alternatives we seek within a world We should remember that the real supportive lifelong community Signature______of increasingly few—then we need to proceed with a real belief in something else, even if that something of friendship and material support that Skowhegan aspires to is demands a name other than what we fi rst imagined. never a fait accompli.

20 21 Luke Stettner’s Continuum Carmen Winant (A '10)

In the summer of 2010, Luke Stettner attended Skowhegan School of Painting & Sculpture with a plan. He moved into a room in the newly renovated Guston dorm and a studio in the middle of the Reis block (desirable spaces!) and, as do all the participants, set to making the spaces feel like his own. I had arrived with few ideas and even fewer materials and admired Stettner's purposefulness. He wanted, among other things, to make a new urn for his father’s ashes and had brought a dozen plastic nesting plates that he had eaten off as a child to do it. One of my fi rst real conversations with Stettner was in the sculpture shop as he drilled holes about three inches in diameter through the brightly colored plates. I asked him if he really intended to put his father’s ashes inside of them to which he responded "yes."

Born in 1979 in Alpine, New Jersey, Stettner grew up in the neighboring city of Tenafl y. Both are under twenty minutes from the George Washington Bridge and as a result, he crossed into New York City many times as a teenager, often late at night. Stettner moved to Tucson, Arizona to attend college in the Sonoran desert where there are no allergies (which must have been really nice as he's allergy-prone.) As an undergrad, he worked at the Center for Creative Photography at the University of Arizona, which contains the full archives of over 2,000 photographers including Edward Weston and Harry Callahan. During that time, Stettner took thousands of photographs on a series of long walks, sometimes from dusk until dawn, recording information about every frame he shot in a journal and ultimately organizing and labeling all of his negatives. He must have thought about the future and its possibilities.

Stettner received his Masters' degree in Photography from the School of Visual Arts, where he made very little photography. By that time, frustrated with the limitations of the medium (having not yet discovered his conceptual forbearers) he turned to object-making. He started with his late father's things, rifting through his small inheritance of objects. Among other projects, Stettner re-pulped his father's papers into new, ghostly "erased" versions of themselves ("What Was, What Wasn't and What Will Never Be") and set all of his leftover belongings in a box on top of a blue carpet that resembled the one in his father’s apartment. After letting the weight settle for many months, Stettner lifted it to reveal an impression that itself would be the framed work ("All the Wait I Have Left (232LBS)." It was the beginning, the real beginning, of a sustained practice dedicated to investigating the presence of absence and the relationship of time to loss.

A year after leaving Skowhegan, Stettner had his fi rst solo show in New York City at Kate Werble Gallery, "Eyes that are like two suns"—a luminous title discovered in the muddle of a spam message. The nesting- plate urn was a part of it, along with several other pieces conceived in Maine: a calendar, again pulped and recycled into imageless pages, a series of monochrome white paintings on high density foam, each with a single slit down their front, and a three-channel video of hands confi guring an origami cube in different variations. As a grouping, it was a poignant treatise on chance and mourning, which was at points as playful as it was somber. Critic Debbie Kuan wrote for Artforum that the works, which Stettner understood to be a part of a single whole, embodied "the perplexing nature of loss as a kind of laceration" and “enact[s] the anger and futility of mourning.” Above all, Stettner's work pointed to the power of empathetic feeling above the importance of empirical fact.

Since that time, Stettner has returned to his early interest in photography, once disavowed. For his upcoming solo exhibitions at Kate Werble Gallery and The Kitchen, in January and February respectively, he is busy mining his own collection of photographs, now over a decade old, as well as his familial archive of images. Stettner's work has long orbited the conditions and effects of mortality, and, while these exhibitions will be no different in that regard, his focus has shifted to the measurement and management of time and record keeping. In late spring 2013, Luke Stettner (A '10) documented Skowhegan's new space prior Stettner's work is curious and penetrating for these reasons: a concern with the rituals of impermanence to the interior demolition. His work creates an index of the space's history that will begin (that never feels morbid or melancholic); an unwavering dedication to art as a substantial, singular anew with Skowhegan's presence. medium though which real feelings and intentions are channeled; an interest in poetry as a vessel; and an openness to variable material and sensitivity to the demands of a given idea. Skowhegan offered him Untitled (2013), Luke Stettner the space, community, resources, and time to grow into the sensitive artist that he is. I know because I've watched it happen. 22 23 Lorna Ritz 1974 Art Beyond Group Exhibition, Robert Flynt Alumni News MacGadfrey Gallery/ Mykonos Biennale, Mykonos, Sunny Savage, Boston, Greece; Pi=3.14, LaMama OFF-CAMPUS PROGRAMS MA; landscape drawing Galeria, New York, NY; exhibition, Boston State The Man Show, Carrie Exhibitions House, Senator Rosenberg’s Haddad Gallery, Hudson, NY; Skowhegan’s off-campus programs are collaborative in nature Offi ce Gallery, Boston, MA There Are Many Like It, But This One Is Yours, The Front and experimental in character. They delve deeply into topics that A selection of news and images from our publicly accessible online Artist Registry which 1969 Room, Brooklyn, NY inform contemporary artmaking and build community between features pages by alumni and past faculty. The following exhibitions occur between Marilyn Propp participants and faculty of all years — as well as a broader group of November 1, 2012 and October 31, 2013. Climate of Uncertainty, Michiko Itatani artists, curators, writers, collectors, and enthusiasts. Our alumni DePaul Art Museum, Cosmic Kaleidoscope, Linda Chicago, IL Warren Project, Chicago, IL; group, the Alliance, working with Sarah Workneh, Co-Director, Color and Construct, creatively nurtures the experience begun on campus into the 1970 Black & White Casual Gallery, vibrant mobile community that is Skowhegan. The following took David J. Einstein Long Island City, NY; place between fall 2012 and fall 2013. Permanent Collection, Mark Making: Prints from Crocker Art Museum, Wildwood Press, St. Louis Sacramento, CA University Art Museum, St. Louis, MO; Paper Works: Susan Heidman Mary Judge and Charles Proteanna, Danforth Geiger, Imogen Halloway Museum, Framingham, MA Gallery, Saugerites, NY; Raisonnement Circulaire Joanna Kao '75, Couple (2013), painting with collage, 20" x 24" 1972 (Circular Reasoning), Philip Ayers ParisCONCRET, Paris, Lindsay Walt Philip Ayers: Small Portraits, Joanna Kao France; To be a Lady: Forty Painting + Drawing (curated The Painting Center, Community of Artists, Five Women in the Arts, 1285 by Anya von Gossein), New York, NY Danforth Museum, Ave of the Americas Gallery, Framingham, MA; Diaspora, Newtonbarry House, Wexford, New York, NY Ireland; Silhouette (curated David Longwell New Century Gallery, New by Bill Caroll), The Elizabeth Action/Reaction, Etherton York, NY; Double Happiness, David Rich Foundation for the Arts, New Gallery-Temple Gallery, Attleboro Arts Museum, David Rich Paintings, York, NY; Silk and Sequined Tucson, AZ Attleboro, MA Ethan Pettit Gallery, Earth, The George Gallery, Brooklyn, NY Laguna Beach, CA; What Dena Schutzer 1976 I Know (curated by Jason People in Space, Washington Ken Buhler 1975 Andrews), NYCAMS, Art Association, Washington Birdlands, Lesley Heller Dennis Aufi ery New York, NY Depot, CT Workspace, New York, NY; All Florida Annual Juried Show, Notes From the Edge of the Boca Raton Museum of Art, 1978 1973 World, Galerie Gris, Hudson, NY Boca Raton, FL; County Peter Dudek Alan Singer Contemporary, Main Gallery Betsy Dovydenas Spring Break Art Show, Deborah Buck '75, Into the Blue (2012), acrylic paint, pastel and glitter on paper, 19.5" x 29.5" A Guide to Nature, The Roger Palm Beach Cultural Council, Berkshire Salon, Eclipse Mill New York, NY Daniel Bozhkov (A '90, F '11) simultaneously interprets performances by Erwin Wurm and Albert Oehlen Tory Peterson Institute of Lake Worth, FL Natural History, Jamestown, Gallery, North Adams, MA; Group Show, Welles Gallery, Tamara E. Krendel 1949 1963 Switzerland; Recent Lenox, MA; Paper and Paste, Animals Dreamed & Dreaming, DO IT (OUTSIDE) David Black Sandy Walker Paintings, Galerie Schmidt St. Francis Gallery, Lee, MA The Concord Art Association, LIFTOFF, Public Sculpture In Nature, Elizabeth Harris Maczollek, Cologne, Concord, MA; Illuminations, Washington DC Gallery, New York, NY; Cologne, Germany; 1977 Mass General Hospital’s Cancer May 12, 2013 New Prints 2012 / Autumn, Reinventing Abstraction Anita Curtis Glesta Care Center, Boston, MA 1957/1958 International Print Center (curated by Raphael Gernika/Guernica, Museum In summer 2013, Socrates Sculpture Park presented do it (outside), Suzanne Hodes New York, NY; Revelations: Rubinstein), Cheim & Read, of Contemporary Art Krakow, Carol Perroni curated by Hans Ulrich Obrist and presented in partnership with Family Matters: Three Drawings in Various New York, NY Krakow, Poland; Gernika/ Annual Postcard Collage Independent Curators International (ICI). do it (outside) was the very fi rst Generations of Women, Mediums, Meridian Gallery, Guernica, Sackler Museum Exhibition, Downtown Gallery, Kriznik Gallery, Women’s San Francisco, CA Gail C. Salzman of Art, Beijing, China; Putti for Kent State University, Kent, “do it” exhibition to be presented in New York City and the very fi rst to Studies Research Center, Gail Salzman/Soundings, Sara, Galeria Praxis, Buenos OH; Collage/Assemblage be presented completely outdoors. With historical antecedents in Dada, Brandeis University, 1964 BCA Center, Burlington, VT Aires, Argentina; Watershed, Centennial 1912-2012, Fluxus, Conceptual art, and Relational Aesthetics, do it (outside) was an Epstein Building, James Kielkopf The Old School New Museum International Museum of experimental exhibition that presented artists instructions and interpretations Waltham, MA James Kielkopf: New Rochelle Woldorsky Ideas City Festival, New York, Collage, Assemblage and Work, Thomas Barry Fine Water Works, Duluth Art NY; Watershed as a Special Construction, Pagosa of these instructions by other artists, performers, community groups, 1961 Arts, Minneapolis, MN Institute, Duluth, MN John Yue '67, East End Landscape #1 (2012), interactive acrylic Project in the Volta Fair, Volta Springs, CO; Collect 10/ local students, staff, and the public. At Socrates, the interpretations Ditta Baron Hoeber on jute canvas, 36” x 60” Art Fair, New York, NY Lucky 13, Center For resulted in installations that ranged from explicitly sculptural, to the Ditta Baron Hoeber: 1965 1968 Contemporary Arts, Santa performative, to the poetically ethereal. During the opening on May 12, Proximity, Paley Gallery Mark Oxman Christy Bergland NY; Annual Members Juried Helen Glazer N. Christina Hutchings Fe, NM; The Omega and at Moore College of Art Portrait of Elizabeth Joy Members Show, Riverview Exhibition, Arts & Cultural Arts in Embassies Program, Biennial Exhibition of the Alpha, Millicent Rogers 2013 from 2–6pm, more than a twenty alumni artists and faculty, selected and Design, Philadelphia, Roy (private commission) Gallery, Havre de Grace, Council for Greater Rochester, US State Department, Contemporary Bermuda Art, Museum, Taos, NM by Skowhegan, interpreted instructions throughout the day and created PA; Seventeen Women, MD; Spirit of Place and Rochester, NY; Refl ections, American Embassy, Lima, Bermuda National Gallery, a sublime critical mass of performative actions and environments. Philadelphia Episcopal 1966 its Transitions: The Great Memorial Art Gallery, Peru; Centennial Juried Hamilton, Bermuda Tyler K. Smith Cathedral, Philadelphia, PA David Reed Pond on Biddeford Pool Rochester, NY; Roberson Exhibition, Delaware Art 62nd Annual All Florida Juried —Elissa Goldstone Regional Exhibition, Roberson Museum, Wilmington, DE Recent Paintings, Häusler Maine, Gormley Gallery Kathy Soles Competition and Exibition, Exhibition Program Manager, Socrates Sculpture Park Contemporary Zurich, Zurich, - Notre Dame Maryland Museum and Science Center, Shoals, Hallspace, Boca Museum of Art, University, Baltimore, MD Binghamton, NY Dorchester, MA Boca Raton, FL

24 25 THE OUTSKIRTS 1985 Animal Sign / Animal Mind, May 2, 2013 Dozier Bell Aigantighe Art Gallery and Seescape, George Adams Museum, Timaru, New SKOWHEGAN AND FINE ARTS WORKS CENTER HOSTED A TALK Gallery, New York, NY; Wood, Zealand; Art Faculty Exhibition, WITH JONATHAN EHRENBERG A '11 (FAWC FELLOW '11-12) Lovely, Dark, and Deep, DC University of Arizona Museum Moore Gallery, New York, NY of Art, Tucson, AZ; Domestic ON THE OCCASION OF HIS SOLO EXHIBITION AT NICELLE Wild, Rosenthal Gallery, BEAUCHENE GALLERY, NY. Lynda Frese College of Idaho, Caldwell, ID; Earth Voices, Borgo della Focus-Five Women Artists, Inspired by Kafka’s The Castle, The Outskirts is a beautifully crafted video Marmotta, Spoleto, Italy; Davis Dominguez Gallery, that, in memory, seems to have been experienced rather than watched. Pacha Mama: earth realm, Tucson, AZ; Small Things The video follows the loose narrative of a man's journey to a castle on Acadiana Center for the Arts, Considered, Davis Dominguez Lafayette, LA Gallery, Tucson, AZ a hill. Emerging from the forest, he is pulled along by a strange cast of characters encountered on the road. When he's abandoned, the video Sarah Haviland Virginia Crawford unravels into a fracturing of earlier imagery that refl ects the longing and Curl at NYU Langone Medical Pierrepont Jonathan Ehrenberg speaks to reception guests disorientation of the protagonist’s state of mind. The video is a mesmerizing Center, NYU Langone Plein Air Arts Festival, Castine before the screening Medical Center, New York, Arts Association, Castine, alchemy of everyday materials: Ehrenberg’s saturated, expressive lighting NY; Figuratively Speaking, ME; Who’s Who- A Survey of turns paper, plaster, branches, and cloth into a vast atmospheric world Gallery 66, Cold Spring, Noho-M55 Artists, Noho/M55 populated by strange, sometimes gruesome, fi gures that seem to emerge NY; Ossining in 3D, Village Gallery, New York, NY from the imagination, or the fears, of the protagonist on his wanderings. of Ossining High School, Ossining, NY; Sculptors Guild, 1986 —Meredith James A '11 Fountain Art Fair, Tom Burckhardt New York, NY 404 E 14 (Organized by Tom Burckhardt), Tibor De Julia Jacquette Nagy Gallery, New York, Tabitha Vevers 1981 1984 The Female Gaze: Women NY; Simulacrum, CCAD (S) M, L Suitcase Show, Inez Kim T. Abraham Nancy M. Cohen Artists Making Their World, Gallery, Columbus, OH; Tom Suen Art & Design Consulting, Fresh show, Zenith Gallery, Nancy Cohen: Beyond the Pennsylvania Academy of the Burckhardt- New Paintings, (traveling exhibition), Asia; Washington, DC Surface, Garrison Art Center, Fine Arts, Philadelphia, PA Tibor De Nagy Gallery, Rosemarie Fiore '88, Smoke Painting Machine, Sting Ray (2012) mixed media and color smoke from fi reworks LOVER’S EYES II: Water’s Garrison, NY; On the way to New York, NY Edge, Albert Merola Gallery, Candida Alvarez recognition, Accola Griefen Yukako Okudaira Provincetown, MA; Tabitha Candida Alvarez, Hyde Park Gallery, New York, NY; 2012 Art in a Box, Masters Bart Gulley Institute of Contemporary Art, Gallery & David Floria, Aspen, Dallas, TX; The Young and Vevers: LOVER’S EYES, Art Center, Chicago, IL Shattered: Contemporary and Pelavin Gallery, New 2013 Artists of the Mohawk- Portland, ME CO; Teresa Booth Brown: the Restless, Cernuda Arte, Lori Bookstein Fine Art, Sculpture in Glass, Frederik York, NY; El Verano, Gallery Hudson Region, The Hyde Paintings and Drawings and Coral Gables, FL; Valley New York, NY Larry Deyab Meijer Gardens & Sculpture 128, New York, NY; Graphik- Collection, Glens Falls, NY; 1987 an Installation: A Unifi ed House Gallery, Dallas Art Fair, Invitation é l’imaginaire - Park, Grand Rapids, MI; The Malerei-Plastik, Galerie New Works on Paper, Joyce Teresa Hubbard (Edible) Scheme, Anderson Dallas, TX 1979 Œuvres de la collection du Land Before and After Time, B. Haasner, Wiesbaden, Goldstein Gallery, Chatham, A Window on the World: From Ranch Arts Center, Snowmass Sue Collier Frac Bretagne, L’Imagerie, Accola Griefen Gallery, Germany; Holiday Show: Part NY; ReCycle, ReCreate, Dürer to Mondrian, Museo Village, CO Randy Wray 25/75, Queens College Art Lannion, France; The 25th New York, NY 2, Gallery 128, New York, NY; ReImagine, Omi International d’Arte di Lugano, Switzerland, MICAPairs, 92YTribeca, New Center, Queens, NY; 40 Years Annual Art Show, Park Avenue Visual AIDS Show ‘13, Cheim Arts Center, Ghent, NY Lugano, Switzerland; Brent A. Crothers York, NY; Paperazzi 2, Janet of Women Artists at Douglass Armory, New York, NY Maria Katzman & Read Gallery, New York, NY; Hubbard / Birchler, Museum Centennial Juried Exhibition, Kurnatowski Gallery, Brooklyn, Library, Mary H. Dana Maria Katzman: Cabin Wish You Were Here 12, A.I.R. Gail Spaien Brandhorst, Munich, Delaware Art Museum, NY; Schmatte, Storefront Women Artists Series, 40th Margaret M. Lanzetta Paintings, Ruth S. Harley Gallery, Brooklyn, NY Gail Spaien: New Paintings, Germany; Open End, Haus Wilmington, DE Bushwick, Brooklyn, NY; Anniversary Virtual Exhibit Al Andaluz, Fez Medina, University Center Gallery, Miller Yezerski Gallery, der Kunst, Munich, Germany; Sideshow Nation, Sideshow (1971-2011), New Brunswick, Morocco, Fez, Morocco; Garden City, NY Barbara Penn Boston, MA; Gail Spaien: Open places - Secret Places: Stacy Levy Gallery, Brooklyn, NY NJ; Plein Air - One Person Famous Ornament, Tokyo, Animal Sign/Animal Mind, New Paintings, William Scott Works from the Verbund Spiral Wetland, Walton Arts Show, Ceres Gallery, New Youkubo Art Space, Tokyo, Wendy Klemperer Rosenthal Gallery, College Gallery, Provincetown, MA; Collection, Museum der Center, Fayetteville, AR Ryuhei Rex Yuasa York, NY; Sight Specifi c, 547 Japan; Spark, Cantor Gallery, Sites for Sculpture, Dowling of Idaho, Caldwell, ID; The World Over, Moderne, Salzburg, DIOCHROMA, William Turner West 27th Street, New York, Worcester, MA; Super Market: College, Oakdale, NY; Wendy Salzburg, Austria Nan Hall Lombardi Gallery (Bergamot Station), NY; Works on Paper, Saraghi Stockholm, Stockholm Klemperer/Chain-Hounds City and Country, Santa Monica, CA Art Space, Victoria, Australia Independent Art Fair: Super and Caribou, University of Margaret Libby Sanford Smith Fine Art, Market, Stockholm, Sweden New Hampshire Museum Hidden Histories: A Project by Great Barrington, MA 1991 Celeste Roberge of Art, Durham, NH; Wendy Maggie Libby, Colby College Patricia Cronin Maine Women Pioneers III Dirigo, Leslie D. Wilkes Klemperer/Sculpture, Four Museum of Art, Waterville, 1989 Dante: The Way of All Flesh, University of New England Art Double Take, Barry Whistler Corners Art Ctr, Tiverton, RI ME; Maternal Aesthetics: The Francis Cape Ford Project, New York, N Gallery, Portland, ME Gallery, Dallas, TX Surprise of the Real, Studies Utopian Benches, Murray Y; NYC 1993: Experimental, Robert L. Pollien in the Maternal (online), Guy, New York, NY Jet Set, Trash and No Star, 1980 1983 Naturally Drawn: Recent Birkbeck, University of New Museum, New York, NY Melanie Kozol Marsha Goldberg Works by Robert Pollien, London, UK 1990 Art @ The Lake, Sembrich Smoke Rises... new drawings, Wendell Gilley Museum, Lilian Garcia-Roig Rebecca Fortnum Museum, Bolton Landing, NY; Beautiful Eyes Gallery, Southwest Harbor, ME 1988 Cernuda Arte, LA Art Behind the Eyes; Making Damsels in Distress, Damsels Jerusalem, Israel Teresa Booth Brown Show, Los Angeles, CA; Pictures (group show), in Distress by Whit Stillman, Brenda Zlamany Community Supported Art Conspicuous Nature (Solo Gallery North, Northumbria New York; The Red Show, Jean Sausele-Knodt Portrait of Abu Dhabi in Four Colorado, Denver Botanic Show), Valley House Gallery, University, Newcastle upon The Village@Gureje, Brooklyn, 32nd National Faber Birren Parts, Abu Dhabi Art Hub, Garden and Boulder Museum Dallas, TX; Nature X 3, Blue Tyne, UK; Self Contained (solo NY; TreeHouse New Paintings, Color Award Show, Juror: Abu Dhabi, United Arab of Contemporary Art, Denver, Spiral 1 Gallery, Asheville, exhibition), Freud Museum, Lake George Arts Project, Ian Alteveer, Stamford Art Emirates CO; SMALL Master Pieces, NC; Sight-Specifi c (Solo London, UK Courthouse Gallery, Lake Association, Stamford, CT Rule Gallery, Denver, CO; Show), McKinney Avenue George, NY; Yo Brooklynites, Stephen Hendee '89, The Last People (2013), Site: Lab, 54 Jefferson, Summer Stock, Quintenz Contemporary (MAC), Hadas Gallery, Brooklyn, NY Margaret Lanzetta '81, Famous Ornament: Tokyo (2013), photograph, Grand Rapids, MI 42” x 75” each photograph 10” x 12”

26 27 Paul Santoleri Saya Moriyasu Toni Jo Coppa Andrew St., New Orleans, LA; 1999 Fleur du Mal, Foundation Eastern Traditions / Western 2013 MFA Thesis Exhibition, The Bridge & The Devil Road Brian Alfred Gallery, New Orleans, LA Expression, Boise Art ICA, Portland, ME; 8th Tattoo, Commissioned by Epic Fail, Storefront Bushwick, Museum, Boise, ID; Annual Boston Young NYC DOT Urban Art Program, Brooklyn, NY; Storms and 1992 Japan’s Beckoning Cats Contemporaries Exhibition, Bronx, NY Stress, Hezi Cohen Gallery, Keith Hale - From Talisman to Pop 808 Gallery, Boston, MA; Toni Tel Aviv, Israel New American Paintings 103, Icon, Bellevue Arts Museum, Jo Coppa & Karen Merritt: 1998 Publication; Scapes, Denver Bellevue, WA; NIHON/ Healing Works, The Gallery J.D. Beltran Jeff Hargrave Art Museum, Denver, CO WA Japanese Heritage, at Planned Parenthood The Future Imagined: What’s Jeffrey Hargrave: 14 Year Washington Artists, of Northern New England, Next, 2012 zero1biennial, Survey, Paintings, Sculpture Annetta Kapon White River Valley Museum, Portland, ME Performance Art Institute, and Video, Contemporary Art Not Actual Size, Proxy Gallery, Auburn, WA San Francisco, CA And Editions, Millburn, NJ Culver City, CA Heather Cox 1994 Clipped, W10W, New York, Glexis Novoa Desiree Holman Shawne Major Lynn Koble NY; Project Atrium: Heather Losing the human form, A Approximately Infi nite Rhyme and Reason: Natural Order, Cox - Crush, Museum seismic image of the eighties Universe, Museum of The Art of Shawne Major, Wave Hill, Bronx, NY of Contemporary Art, in Latin America, Museo Contemporary Art San Diego, Hilliard Museum of Art, Jacksonville, FL Nacional Reina Sofía, Madrid, La Jolla, CA; Destined to Jacolby Satterwhite '09 and reception guest Lafayette, LA Mark Masyga Fountain Art Fair, Charlotte Schulz 69th Regiment Armory, Drawn to Nature, Wave Hill, New York, NY THE MATRIARCH'S RHAPSODY Bronx, NY; It’s the End of the World as We Know it (and I 1995 February 12, 2013 Feel Fine), Ramapo College, Jennifer McCandless Mahwah, NJ Body Double: The Figure in Contemporary Sculpture, SKOWHEGAN AND FINE ARTS WORKS 1993 The Frederick Meijer Sculpture Francis Cape '89, F '08, Utopian Benches (2013), poplar wood, traveling exhibition CENTER HOSTED A TALK WITH JACOLBY Warren Craghead Museum, Grand Rapids, ME SATTERWHITE A '09 (FAWC FELLOW ‘11-13) seed toss, Arlington Art Erik Geschke Jennie C. Jones Megan Walch Center, Arlington, VA Juana Valdes (Title TBA) Solo Window Higher Resonance, 15 Artists invitational, Redcliffe ON THE OCCASION OF HIS SOLO EXHIBITION III Bienal de Arte Installation, SAM Gallery, The Hirshhorn Museum City Art Gallery, Brisbane, AT MONYA ROWE GALLERY, NY. Angela Ellsworth Latinoamericano del Bronx Seattle Art Museum, Seattle, and Sculpture Garden, Queensland All Things Become Wild & 2012, New York, NY WA; Erik Geschke: Select Washington, DC Free, HF Johnson Gallery Work, McMahon Gallery, 1997 Key Frames 1996 of Art at Carthage College, The Dairy Center for the Yoshiko Kanai Nicole Awai Kenosha, WI; Mysterious Michele Brody Arts, Boulder, CO; Heads, Secound Annual Curate NYC Be Inspired! Kemper at the In The Matriarch's Rhapsody, Satterwhite’s videos Content of Softness, Rollins Cheng Long Wetlands Shoulders, Genes and Toes, (online exhibition) Crossroads, Kemper Museum are exhibited alongside drawings and photographs. Fine Art Museum, Rollins International Environmental Museum of Fine Arts, of Contemporary Art, Kansas College, Winter Park, FL Art Project, Cheng Long This juxtaposition unifi es three crucial elements Florida State University, Annette Lawrence City, NO; Happy Islands, in his practice and act as a key to navigating the Wetlands, Cheng Long, Tallahassee, FL; Selections Coin Toss Fundacion Encuentro Prome Richard Feaster Taiwan; Refl ections in Tea, from Portland2012: A (site specifi c installation), Bienal di Aruba, Oranjestad, relationships between them: stills from his Reifying Richard Feaster: Chashama 461 Gallery, Biennial of Contemporary Art”, Dallas Cowboys Stadium, Aruba; Mi Papi, Dream On Desire video series, family photographs, and his Paintings, Gallery 363, New York, NY Schneider Museum of Art, Arlington, TX Happy Ending, Washington Memphis, TN mother’s drawings of schematic diagrams. Invented Southern Oregon University, Windows, 80wse Galleries, objects in these drawings are repurposed as the Ashland, OR New York University, New York, USA architecture of the videos, and the photographs Chris Sollars '98, Buster: Left Behind Series (2009-2013), ongoing digital photo series of public sculptures provide a familial context interpreted and re- made with ready-made trash and debris on streets and sidewalks around my San Francisco Mission neighborhood performed by Jacolby. Together, they form a series of cross-referencs that oscillate throughout the Marjan Laaper Spain; Politics: I do not like Disappear, The Armory Show, exhibited works. Self-portraiture and family history Ah wat Lief, Villa Zebra, it, but it likes me, Center for New York City, NY; New are departure points that immediately challenge Rotterdam, The Netherlands; Contemporary Art Laznia, Ages, Philip J. Steele Gallery, Cine y Fotografi a y La Ilusion, Gdansk, Poland Rocky Mountain College of the viewer with new narratives venturing beyond Exhibition, Marbella, Spain; Art & Design, Denver, CO; normative ideas of the political body and physical Duende Dicht, Open Studios, Alicia Paz The Indigo & the Ecstatic: space. Jacolby's videos never rest, only vogue, Rotterdam, The Netherlands Alicia Paz, Dukan Gallery, A Motion to the Future, SF wobble, twerk, and electrically slide into a new Paris, France; Alicia Paz, MOMA, San Fransico, CA Steed Taylor Instituto Cultural de Mexico, space-time-culture continuum. This new virtual Daughters and Sons Knot Paris, France; Heute.Spektrum. Andrew Johnson realm allows Jacolby executive permission to Road Tattoo Commission, Malerei, Kunstmuseum Ossuary, University of overwrite stagnant identities and the possibility Washington, DC; Galloon Magdeburg, Magdeburg, Tennessee Downtown Gallery, for existence of new and dynamic cultural modes. Road Tattoo, Commissioned Germany; Masquerade, be Knoxville, TN; OUT OF by Navy Pier w/support by Another, Stepehn Lawrence RUBBLE, Harris Art Gallery, that oscillate throughout the exhibited works. City of Chicago, Chicago, Gallery, University of University of La Verne, IL; INVASIVE Road Tattoo, Greenwich, London, UK La Verne, CA; The Map is Not —Zachary Fabri A '13 Sculpture Park of the North the Territory, The Jerusalem Carolina Museum of A rt, Christopher Sollars Fund Gallery, Washington, DC Raleigh, NC; Labor Line Road Trash, The New Children’s Tattoo, Arlington, VA; Radiant Museum, San Diego, CA Road Tattoo Commission, St.

Keith Hale '92, falling faintly through the universe (2012), oil on linen, 26" x 68"

28 29 Ellen Lesperance 2000 Riad Miah Lincoln, MA; there is no one 2003 Shinique Smith It’s Never Over, Ambach & Anthony Campuzano Factor 41N-9W, Rooster left to blame, Institute of Crystal Z Campbell Dark Flow Lurking, David Rice Gallery, Los Angeles, In Front of Strangers, I Gallery, New York, NY Contemporary Art, Boston, Crystal Z Campbell: I Live Castillo Gallery, Miami, FL CA; We Tell Ourselves Stories Sing, Woodmere Museum, MA; White Boys, Cantor To Fight (No More) Forever, in Order to Live, Museum of Philadelphia, PA; Local Color Matthew Northridge Fitzgerald Gallery, Haverford ARTERICAMBI, Verona, Italy Hong Zhang Contemporary Craft, (solo exhibition), Churner and united states, The Aldrich College, Haverford, PA Asian American Portraits of Portland, OR Churner, New York, NY; Contemporary Art Museum, William Cordova Encounter (traveling show), New Wine New Bottle, Ridgefi eld, CT Vidho Lorville Yawar Mallku: Temporal Asia Society Texas Center, Jean Shin Fleisher Ollman Gallery, From The Soul, GALLERY35, Landscapes, Sikkema Houston, TX; Asian American Context Revisited, Art in Philadelphia, PA; The White John O’Connor New York, NY Jenkins & Co., New York, NY Portraits of Encounter traveling Embassies Program, US Album, Louis B James, Classless Society, Tang show, Japanese American Embassador’s Residence, New York, NY Museum; Pierogi Gallery, Wanda Raimundi-Ortiz Brad Hampton National Museum, Los Seoul, Korea; Jean Shin Armory Show, New York, NY; superHUMAN, Aljira, Brad Hampton: New Work, Angeles, CA; On the Way & Brian Ripel: RETREAT, Saul Chernick Solo Exhibition, Pierogi Newark, NJ Seohwa Gallery, Seoul, Home, The 9th Shanghai deCordova Sculpture Park Falling Through Space Gallery, Brooklyn, NY South Korea Biennale, Pudong International and Museum, Lincoln, MA Drawn by the Line, Aaron T Stephan Airport Art Museum, Shanghai, University of Buffalo Art Melissa Oresky Art Handling, Samsøn, Noah Klersfeld China; The Moment for Ink, Left: Steffani Jemison, Untitled (Projection) (2012), Gedi Sibony Galleries, Buffalo, NY Angular Seduction, TSA, Boston, MA; Making Sense, See Change, The Los Chinese Culture Center of inkjet print on acetate, gesso, panel, hardware, 36" x 24"; Chat Jet - Painting Beyond Brooklyn, NY; System Aucocisco, Portland, ME; Angeles International Airport San Francisco, San Francisco, Right: Carter, Triple Portrait (1997, 2006, unknown), The Medium, Kunstlerhaus Megan Cump Preferences, SCA (LAX), Los Angeles, CA CA; Three Sisters Bound to various media, 16" x 20" x 20" Paths, Coleman Burke, Graz, Austria; Memories: BLACK MOON (solo), Station Contemporary, Brunswick, ME; Second- the Elements, Sacramento Some Favorite Objects, an Independent Projects, New Albuquerque, NM Hand Utopias, Decordova Claudia Sbrissa State University Library Gallery, exhibition selected by Emily York, NY; One Minute Film Sculpture Park and Museum, Claudia Sbrissa: Avvolto, AC Sacramento, CA SILHOUETTES Rauh Pulitzer, Cincinnati Art Festival, MASS MoCA, North Soo Y. Sunny Park Lincoln, MA Insitute Gallery, New York, Museum, Cincinnati, OH; Adams, MA; Summer Break, Unwoven Light, Rice Gallery, NY; Fiber 2 Form, Salem Art 2004 The Ecstasy of the Station Independent Projects, Houston, TX Katherine Taylor Works, Salem, NY; Inside Out, Yuki Kasahara May 18–June 16, 2013 Newness of the Image (or New York, NY; THIS LAND, 2013 Earth Moves: Shifts Kentler International Drawing Wonderland - Jewel the Communicability of Salisbury University Art Kanishka Raja in Ceramic Art and Design Space, Brooklyn, NY; Underwater, Bene Ginza For four weeks an empty storefront in an Unusual One), Hessel Gallery, Salisbury, MD Nearly Neutral, Sarah National Exhibition, 2013 Never Underestimate a Salon, Tokyo, Japan Windsor Terrace became a temporary gallery Museum of Art, CCS Bard, Lawrence College, New York, Earth Moves: Shifts in Monochrome, Project for Silhouettes, an exhibition of work by Annandale-on-Hudson, NY; Stephanie Diamond NY; Terra Incognita, University Ceramic Art and Design Space, Wignall Museum of Gwenessa Lam Contemporary Art, Rancho Shadow, Truck Gallery, Skowhegan alumni. Hosted by Richard Prins, undefi ned, Greene Naftali Time Capsules for our of North Carolina, Pembroke, National Exhibition, Arvada, Gallery, New York, NY Grandchildren, City of NC; X-Tra, Lesley Heller CO; Chaos! Ro2 Art Summer Cucamonga, CA; One of a Calgary, AB, Canada; Marluna Seecharen, Rick Prins and Connie Philadelphia Mural Arts Workspace, New York, NY Small Works Show, Ro2 Kind: Unique Artist’s Books, The Painting Project, Galerie Steensma, the show included works by Becca Mary Temple Program, Philadelphia, PA Art Downtown, Dallas, TX; AC Insitute Gallery, New York, de L’UQAM, L’Université du Albee '99, Lucas Blalock '11, Daniel Bozhkov Simulacrum, Columbus Sigrid Sandstrom From the CAV(e) to The NY; Trace & Gestures, Grey Québec à Montréal, Gallery, Milwaukee, WI Montreal, Canada '90, F ’11, Carter ’94, Steffani Jemison '08, Em College of Art and Design, Angelina Gualdoni Solo Exhibition, Inman Gallery, Temple: Katherine Taylor, Canzani Center Gallery, Pour, Asya Geisberg Gallery ADAA The Art Show, Park Hong Zhang '03, Bond (2013), charcoal on paper scroll, 48" x 100" Rooney '12, Lauren Silva '11, Matt Taber '12, Columbus, OH and Lesley Heller Gallery, Avenue Armory, New York, NY and Carmen Winant '10. Organized as a group New York, NY of informal portraits, the works were alternately Daniel Seiple International Performance Art precise and incomplete, and included painting, Can’t see the wood for the Festival, Brooklyn, NY trees, Gavin Smith / Scottish sculpture, installation and photography. Sculpture Workshop, Corgarff, Chitra Ganesh Several of the artists chose to make new Aberdeenshire, Scotland Chitra Ganesh & Dorothea work for the space, taking the project, Tanning , Armory Focus, The curated by Christopher Aque '12 and myself, Edra Soto Armory Show, New York, NY; East Garfi eld Park Chitra Ganesh, Rina Banerjee, as a chance to experiment. As an exhibition Neighborhood (curator), Zarina, The Armory Show, space, Fort Hamilton provided a platform for Chicago Artists Month, New York, NY dialogue and exchange within the Skowhegan Chicago, IL; et aliae, Galeria community, but also with the surrounding Agustina Ferreyra, San Ulrike Heydenreich Juan, Puerto Rico; Front Boesner Art Award, neighborhood. During the run of the exhibition, & Center, Hyde Park Art Markisches Museum, Witten, the space hosted a performance by members Center, Chicago, IL; Home Germany; Renania Libre, of the Brooklyn orchestral collective (and Field Play (collaboration with Galeria Helga de Alvear, neighbors), The Knights, as well as a literary Alberto Aguilar), Museum of Madrid, Spain Contemporary Art Chicago, reading by local writers Adrienne Brock, Chicago, USA Billie Grace Lynn Amanda Calderon, David McLoghlin, White Elephants, Boise Art Richard Prins and Melissa Swantkowski. Ann Toebbe Museum, Boise, MT Open House: Art About Shana Moulton '04, Restless Leg Saga (2012), video still —Anissa Mack A '99, F '11 Home, Elmhurst Museum 2002 of Art, Chicago, IL; The Nils Karsten Chris Blackhurst, & Charley Michael Scoggins Shaun El C. Leonardo Co-curator Inheritance, EBERSMOORE Suburbia Hamburg 1983, Allen, Texas A&M University, Drawing the Line, Hilger Champion of the World, Gallery, Chicago, IL Churner & Churner Gallery, Commerce Art Gallery, Contemporary, Vienna, Praxis International Art, New New York, NY Commerce, TX; Mesmerize, Austria; The Decline and York, NY; Radical Presence, 2001 Pearl Fincher Museum of Fall of the Art World, Part 1, Contemporary Arts Museum Amy Finkbeiner Steve Locke Fine Arts, Spring, TX; Not So Freight + Volume Gallery, Houston, Houston, TX I’m Just Putting It All Out PAINT THINGS: beyond Fast: Ceramic Sculpture by New York, NY; The Wild superHUMAN, Aljira, a There, BIPAF 10-Minute the stretcher, DeCordova Barbara Frey and Katherine Bunch, Gallery Poulsen, Center for Contemporary Art, Steve Locke '02, in the watching (2013), wall paint on wall, 46 x 16 x 20”, wall paint on wall, egg tempera Marathon, Brooklyn Sculpture Park and Museum, Taylor, Ro2 Art, Dallas, TX Copenhagen, Denmark Newark, NJ and oil on wood, wood base with collage, milk paint, and enamel, beveled and painted on bottom with painted wood legs, stripped and painted poles, connectors, and flanges. Right: detail

30 31 SkowheganWALKS Gallery, New York, NY; Chick Lit: Revised Summer March 30, 2013 Reading, Tracy Williams, Ltd., New York, NY; Graphite, A tour of Skowhegan alumni studios in Indianapolis Museum of Art, Indianapolis, IN; Slippage, Greenpoint and Williamsburg with six artists: Center for the Arts Gallery, Keren Benbenisty '09, Christopher Carroll '08, Towson University, Maya Hayuk '11, Andrew Ross '11, Towson, MD; The Marginalia Claudia Sbrissa '03, and Jef Scharf '00. Archive (solo exhibition), Steven Wolf Fine Arts, San Francisco, CA

Mark Taber America The Beautiful, Liz Afi f Gallery, Philadelphia, PA; Metaphor And Art, Online Exhibition

Fiona Tan Beyond Imagination, Stedelijk Museum Amsterdam, The tour group in Maya Hayuk’s studio Amsterdam, The Netherlands

2007 El Anatsui UK; Undressing To Think Tiffany Sum Museum of Modern Art Center for the Arts, St. Louis, Ordinary Retrospective, Craig Drennen '06, Double Painter 3 (2013), graphite, acrylic, oil, alkyd on paper, 40" x 80" Ala, Earth Matters, Deeper, ArtZuid (Sculpture Almost, O.WW Gallery, and Western Antiquities, MO; Unravelling the National The Chicago Cultural Center, Smithsonian National Biennal Route), Amsterdam, Shanghai, China; Department of Light Trust, Nymans House and Chicago, IL Works on Museum of African Art, Transcendent Ordinaries, K11 Recordings, Section IV: Paper: Anna Kunz, Thomas Jason Manley (solo), D+T Project Gallery, Voices, Galleri of Northern Molly Springfi eld The Netherlands; When I Last Gardens, Sussex, UK; Washington, DC; Bienal de Art Mall, L107 Art Space, Lens Drawings, Marian Nozkowski, Michelle Wasson, 3rd Annual Sculpture Garden, Brussels, Belgium; Ma Norway, Harstad, Norway Art=Text=Art, Hafnarborg: Wrote to You About Africa, Worked, ATHICA, Montevideo, Montevideo, Hong Kong, China Goodman, Paris, France Lake Forest College, Manhattan Beach Civic Prochaine Vie, Ceci N’est The Hafnarfjordur Centre Denver Art Museum, Athens, GA Uruguay; Broken Bridge Lake Forest, IL Plaza, Manhattan Beach, CA; Pas-Courtesy, Los Angeles, Ben Kinsley of Culture and Fine Art, Denver, CO II, The High Line, New York, 2008 MaryKate Maher Carmen Argote Wild West, Lambet Gallery, PA; Pictorial Field, D+T Janks Archive: Belfast Hafnarfjordur, Iceland; NY; El anatsui: Recent Works, Suzanne Broughel Auspicious Positions, 720 Sq.Ft, Vincent Price Art Nyeema Morgan Brussels, Belgium Project Gallery, Brussels, Collection, FIX 2013 - a Art=Text=Art: Works by Jonathan Baldock Jack Shainman Gallery, New Group Therapy: Aesthetics Real Art Ways, Hartford, Museum, Los Angeles, CA Collinear Points, Carol Belgium; QUICK RESPONSE, program of Catalyst Arts, Contemporary Artists, A strange cross between York, NY; Gravity and Grace, and Politics, DUMBO CT; Homeward Found, The Jazzar Gallery, Miami, FL; Daniel Rich Practice, Philadelphia, PA; Belfast, Northern Ireland; Zimmerli Art Museum at a butchers shop and a The Brooklyn Museum, Galleries, Brooklyn, NY; Wassaic Project, Wassaic, NY; Krista Caballero FEEDBACK, Arts Incubator, Platforms of Power, SOCIAL SOUND, VHDG Quick Response, Practice Rutgers Univerisity, nightclub, Wysing Arts Centre, Brooklyn, NY; TSIATSIA- Memphis Social: An Apexart In Free Fall, Interstate Projects, Balance Unbalance, Chicago, IL; Forty-Seven Museum of Fine Arts, Blokhuispoort, Leeuwarden, Gallery, Philadelphia, PA New Brunswick, NJ; Cambridge, Cambridgeshire, Searching for Connection, Franchise Exhibition, Hyde Brooklyn, NY; Peekskill Project Balance-Unbalance Easy Poundcakes Like Boston, MA NETHERLANDS; The Autocorrect, Josée Bienvenu UK; Are You Alright? New Royal Academy, London, Gallery, Memphis, TN; Solo V, Pugsley Park, Peekskill, NY International Conference, grandma Use To Make, Cosmic Artisan (curated by Art from Britain, Museum of Exhibition: Bleach Bronzed, Noosa, Australia; BRIC Arts | Media Rotunda 2005 Bastien Rousseau), Siegfried Contemporary Canadian Art Trailer Park Proyects, San Monika Sziladi ISEA 2012: Machine Gallery, Brooklyn, NY; History! Rachel Frank Contemporary, London, (MOCCA), Toronto, Ontario, Juan, Puerto Rico After the Fall (curated by Wilderness, 516 ARTS, Hauntings and Palimpsests, Bed on the Floor, Zurcher UK; Throw a Rock and See Canada Andrea Pemberton), Albuquerque, NM; Terrestrial The Anya & Andrew Shiva Studio, New York, NY; In What Happens (curated Jason Head Hadassa Goldvicht Garis & Hahn Gallery, New Transmission, Ruffi n Gallery, Gallery, John Jay College of Search of..., TSA, by Juan Canela), La Casa Fluid: Construct, One Liberty Invisible Realms: York, NY; Hrvoje Slovenc and Charlottesville, VA Criminal Justice, New York, Brooklyn, NY Encendida, Madrid, Spain; Plaza, New York, NY Encountering the Sacred, Monika Sziladi: There is NY; Lost & Found Part II, Hal Yours in Solidarity / Reading Westmont Ridley-Tree More to the Story, Helac Heather Hart Caleb Charland Bromm Gallery, New York, Anarchism - Talk-, NASA Museum of Art, Santa Fine Art, New York, NY; The Northern Oracle: We Will Katie Herzog Backscatter, Gallery Kayafas, NY; NEWSFEED: Anonymity New Art Space Amsterdam, Barbara, CA; More Love: Art, Let’s Face It: A selection of Tear the Roof off the Mutha, Transtextuality (SB 48), Night Boston, MA; Fathom and Fray, & Social Media in African Amsterdan, Netherlands Politics and Sharing since the Contemporary Photography Franconia Sculpture Park, Gallery, Los Angeles, CA Schneider Gallery, Chicago, IL Revolutions and Beyond, 1990s, Ackland Art Museum, and Video by Hungarian Museum of African and Franconia, MN Victoria Fu Sandy Litchfi eld NC; Perchance to Dream, Artists, Radiator Gallery, Amy Feldman Diasporan Arts (MOCADA), A Cloud is Not a Sphere, In The Zone, Station Andrea Meislin Gallery, New York, NY; New York DECENTER, Henry Street Brooklyn, NY; Toonskin, Saskia Jorda Flashpoint/CulturalDC, Independent Projects, New New York, NY I Love You Sometimes Settlement/Abrons Art Artspace, New Haven, CT Unraveling Tradition, Washington, DC; York, NY; What Blooms in (organized by George Terry), Center, New York, NY ; RAW Grand Central Art Center, Approximately Infi nite Universe, the Rubble, Carroll and Sons, Lydia Greer Classic Six, New York, NY; GRACES, Gregory Lind Tara Pelletier Santa Ana, CA Museum of Contemporary Boston, MA Conversation Continuum, Wide Receivers - New Gallery, San Francisco, CA; Tropiclipse (with Jeffrey Art San Diego, La Jolla, CA; Martina-Johnston Gallery, Works, Godot Galeria, 2006 The Academy of Arts and Kurosaki), Vox Populi, Belle Captive, Emerson Berkeley, CA; Night Light, Budapest, Hungary Elena Bajo Alison O’Daniel Letters Invitational Exhibition, Philadelphia, PA Dorsch Gallery, Miami, FL; SOMArts, San Francisco, Can’t Hear my Eyes (curated Alison O’Daniel: Quasi The Academy of Arts and Lorem ipsum, Marginal Utility, CA; Stop/Motion: Splitting 2009 by Niekolaas Lekkerkerk), Closed-Captions, Samuel Letters, New York, NY Bundith Phunsombatlert Philadelphia, PA the Frame, Interface Gallery, Lauren Adams Nogueras Blanchard Gallery, Freeman Gallery, Los Angeles, A.T.E. (Art Technology CA; Rogue Wave, L.A. Louver, Oakland, CA; Temescal Street Garden, The Carrack, Jane Fox Hipple Experiment), Amelie A. Madrid, Spain; Elena Bajo Donna Huanca Venice, CA Cinema-Film Festival, curator Durham, NC; Home Work: Corresponding Selves, Wallace Gallery, SUNY Solo Objects, ARCO Art 24 SPACES, Malma Konsthall, for selected shorts, Temescal Domestic Narratives in DODGEgallery, New York, NY College at Old Westbury,, Fair with D+T Project, Malma, Sweden; Elevation, Alejandro Pintado Street Cinema 2013, Contemporary Art, Green NY; EAF 12: 2012 Emerging Madrid, SPAIN; Group Show Arnhem Fashion Biennale, 30 Aniversario del Museo Oakland, CA Hill Center for NC Art, Anna Kunz Artist Fellowship Exhibition, Presented by D+T Project, Arnhem, Netherlands; Nacional de Arte, Museo Greensboro, NC; RELAY Angular Seduction, TSA Socrates Sculpture Park, Art Brussels, Brussels, Maenad Cymbals, KSF Nacional de Arte MUNAL, John Houck RELAY, Ortega y Gasset Gallery, Brooklyn, NY; Anna Long Island City, NY Belgium; La Femme Radicale presented by Peres Projects, Mexico City, Mexico A History of Graph Paper, On Projects, Brooklyn, NY; Kunz and Paige Cunningham or The Point of No Return Berlin, Germany; Pioneer Jason Head '07, Short Sail (2012), duralar film, vinyl paint and paper shift, 16" x 20" Stellar Rays, New York, NY; Social Security, The Luminary for the Industry of the

32 33 und Westarbeiter, Westwerk, Maya Hayuk Pepe Mar Hamburg, Germany; And in the Morning After Pivot Points 15 Years and Every time I recall I pull my the Night I Fall in Love with Counting: MOCA’s 15th nose, Tel Aviv, Israel the Light, A.L.I.C.E. Gallery, Anniversary Collection, Les modes personelles, Brussels, Belgium; Hammer Museum of Contemporary Tel Aviv, Israel Projects: Maya Hayuk, The Art North Miami, North Miami, Hammer Museum, Los FL; The Eye, The Vessel Jonathan Duff Angeles, CA; Mary Heilmann: and The Spell, David Castillo From Joy to Terror, Delaware Good Vibrations/ Maya Hayuk: Gallery, Miami, FL Center for Contemporary Art, Heavy Lights, Bonnefanten Wilmington, DE Museum, Maastricht, Tyler McPhee Netherlands; This Wall Could One Minute Film Festival: Catherine Fairbanks Be Your Life, Museum of 10 Years Later, MassMoCA, Overturning the Artifi ce, Contemporary Canadian Art, North Adams, MA; Smack SOMarts, San Francisco, Toronto, Ontario, Canada Mellon Hot Picks, Smack CA; We are the Field, Mellon, Brooklyn, NY Scrawl Center for Drawing, Shara Hughes San Francisco, CA Bathers, Morgan Lehman Michael Menchaca Gallery, New York, NY; Estampas De La Raza: Clare Grill Shara Hughes, Atlanta Contemporary Prints From Cathedral, Silas Marder Contemporary Arts Center, the Romo Collection, McNay Gallery, Bridgehampton, NY; Atlanta, GA Art Museum, San Antonio, Dying on Stage: New TX; IPCNY New Prints/ Painting in New York, Garis & Jeremiah New Narratives: Summer Hahn, New York, NY; Loves Hulsebos-Spofford 2013, IPCNY, New York City, Industrial Park, GrizzlyGrizzly, Hall of Khan, Hyde Park Art NY; New Works: Michael Brindalyn Webster Chen, Believing in God for 3 Seconds (2009), digital video still, 4:51 Lauren Adams '09, We the People (2012), mixed media participatory installation, solo booth Expo Chicago 2012 Philadelphia, PA; Paintings Center, Chicago, IL Menchaca, AMOA/Arthouse and Drawings, Edward Gatehouse Gallery, Austin, Thorp Gallery, New York, NY; Jules Buck Jones TX; Window Works, Artpace, Jaye Rhee David Leggett LIARS, ACTORS, AND BELIEVERS Mitchell Squire Season Review: A Selection, The Hundred Handed Ones San Antonio, TX The Flesh and the Book, Afterimage, DePaul Art Mitchell Squire: Inside the Edward Thorp Gallery, (solo show), Conduit Gallery, A ONE-NIGHT SCREENING OF VIDEO WORKS BY SKOWHEGAN ALUMNI, DOOSAN Gallery, Museum, Chicago, IL; White Cube, White Cube, New York, NY Dallas, TX Gabriela Salazar New York, NY Hoochie Coochie Man, Tracy London, UK This Is Where We Jump: La CURATED BY THE SKOWHEGAN ALLIANCE. CABINET, BROOKLYN, NY Williams Ltd., New York, NY; Bienal 2013, El Museo del Clarissa Tossin SQUIRTS: April Childers, Fabian Tabibian Barrio, New York, NY; May 21, 2013 Brasilia, Cars, Pools & Other David Leggett, Max Maslansky, Same Same but Different, We Are STILL Here: Art Modernities (solo exhibition), Regina Rex Gallery, Queens, Guest Spot (At The IN the Bronx, Andrew Liar: noun (from Old English lêogere, from lêogan to lie) Center 3 for print and media NY; Whisper Down the Lane, Reinstitute), Baltimore, MD Freedman Home, Bronx, NY arts, Hamilton, Canada; When Gallery 400, Chicago, IL One that usually knowingly and habitually utters falsehood: one that lies Attitudes Became Form Scott Patrick Wiener Maria Walker Actor: noun (Middle English actour, doer, pleader, from Latin actor, from actus (past part. Become Attitudes, CCA Wattis Marisa Mandler Charles Miller and Maria The Luxury of Distance, Of agere to drive, do) Institute for Contemporary Arts, 40/40, University of Southern Kunstverein Weiden, Walker, Dedee Shattuck San Francisco, CA California, Los Angeles, CA; Weiden, Germany Gallery, Westport, MA; 1. Roman law: one that conducts a legal action: PLEADER Imaginary Travels, Performing Methods-- 2a. Jayoung Yoon Contemporary Art Space for Matthew Wilson in context, CB1 Gallery, One that acts in a stage play, motion picture, radio, or television play, East and West, Ohio Craft Kids- Amerika Haus, Berlin, Columbia Visual Arts 2013 Los Angeles, CA or dramatic sketch Museum, Columbus, OH; Germany; Traces of Life, MFA Thesis Exhibition, b. A theatrical performer (a professional) Mind Out of Time (Solo show), Wentrup Galerie, Fisher Landau Center for Art, Asim Waqif c. One that behaves as if acting a part Here Arts Center, New York, Berlin, Germany Long Island City, NY Khalal (Gallery Solo), Nature 3a. One that takes part in any affair: PARTICIPANT NY; Sacred Vision, Separate Morte, New Delhi, India b. WRONGDOER, TORT-FEASOR Views, Tibet House US, Mary Mattingly 2011 Solo, Palais De Tokyo, Paris, New York, NY Common interests: mobility France; untitled, Devi Art Matthew Ager Believer: noun (Middle English bilven, beleven, from Old English belêfan, belyfan, and transformation of public Open Cube, White cube - Foundation, Gurgaon, India 2010 life., Rowan University, Mason’s Yard, London, UK from be + lêfan, lyfan to allow, to believe; akin to Old English gelyfan, believe, Strauss Bourque- Glassboro, NJ; System Katie Wynne Proto-Germanic galaubjan, to believe, hold dear, love) LaFrance Economies, Boston University, a chain of non-events, Samantha Bittman 1. One that holds a fi rm or wholehearted religious conviction or persuasion In The The Spring, KANSAS Boston, MA Get Off the Lawn, Parade Lawndale Art Center, Gallery, New York, NY Ground, New York, NY; Houston, TX; Let’s do 2. One that takes (a statement or person making a statement or existence) Rosemarie Padovano July Group Show, Guerrero tomorrow what we did today, as true, valid, or honest Tim Campbell That Fell on Deaf Ears, Gallery, San Francisco, CA Good Weather, North Little 3. One that gives credence: TRUST Vox IX, Vox Populi, Momenta Art, Repeat(s), Flash Atolye, Izmir, Rock, AK Philadelphia, PA Brooklyn, NY Turkey; Samantha Bittman Featuring works by: and Gabriel Pionkowski, Claire Zitzow Lauren Cohen Gary Pennock Thomas Robertello Gallery, Remains To Be Seen, Amanda Alfi eri '08 Jennifer Macdonald '05 Bloomberg New The Asynchronous Coma: Chicago, IL White Box at the University Crystal Z. Campbell '03 Dafna Maimon '08 Contemporaries, Institute of Living Screens, Rooms, of Oregon in Portland, Brindalyn Webster Chen '09 Nir Nadler '12 (in collaboration with Nadev Nadler) Contemporary Art, London, and Bodies, AC Institute, Ivonne Dippmann Portland, OR; Strange Glue, Monica Cook '12 John Peña '09 London, U.K. New York, NY 12 = 6 x 2, Projektraum Thompson Gallery, Esteban del Valle '11 slinko '10 Stilper, Frankfurt, Germany; Weston, MA Benjamin Dowell '06 Anna Chiaretta Lavatelli Jessica Segall Mary Vettise '12 Aktivisten & Westarbeiter Jennifer Levonian '07 Michael Zheng '03 The Wreck, Angel’s Gate Videorover, Nurture Art, #2, nichtsalsgespenster, Cultural Center, Brooklyn, NY Berlin, Germany; Aktivisten Jennifer Sullivan '11, Untitled (Picasso poster) (2013), San Pedro, CA digital print, 30” x 20” Defi nitions taken from: Grove, Philip Babcock (Ed.), Webster’s Third New International Dictionary, 1993: 22, 200, 1302

34 35 Che Mangiamo (Sustenance Performance, Rooster Gallery, and Art), Accademia di Brera, New York, NY Alumni Awards Milan, Italy the still point (performance), SuperNOVA Clare Torina Art Matters Grant Joan Mitchell LaToya Ruby Frazier '07 Nancy Graves Smack Mellon International Performance Art Material Anthology, Crosstown Jennie C. Jones '96 Foundation Grant Lauren Kelley '07 Foundation Grant Hot Picks Festival, Rosslyn, VA Arts, Memphis, TN Alison O’Daniel '07 Anissa Mack '99 Stephanie Syjuco '97 Gabriela Salazar '11 Louisiana State Arts Ander Mikalson '12 Melissa Brown '00 Council, Inaugural Ander Mikalson John Walter Lisa Sigal '86 Abigail DeVille '07 Pollock Krasner Trawick Prize Lifetime Cultural A Score for A Dinosaur, Ceri Hand Summer Fete, Nicole Awai '97 Yvonne Estrada '86 Foundation Grant Finalist, Bethesda Achievement Award Temple Contemporary, Ceri Hand Gallery, London, Noelle Mason '04 Gwendolyn Kerber '79 Urban Partnership Philadelphia, PA; A Score for UK; KALEID 2013, The Art Barbara Bishop Hunt A. Slonem '72 Karyn Olivier '00 Lauren Adams '09 Two Dinosaurs, Institute for Academy, Mermaid Court, Emerging Artist Award John Simon Guggenheim Helen J. O’Toole '89 Marie Walsh Sharpe Contemporary Art, London, UK; Playpark, Smart Jonathan Duff '11 Memorial Foundation William H. Johnson Art Foundation Portland, ME Consultants, Aberdeen, UK; Christopher Sollars '98 The Joyce Alexander Foundation for the The John McCririck Memorial The Horticultural Liz Magic Laser '08 Wein Prize, The Studio Arts Prize Gabriel Pionkowski Bar, Art Flea at Stroud Society of New York, Louis Comfort Amy Feldman '09 Museum in Harlem Clifford Owens '04 American Painting Today: Valleys Artspace, Stroud, Award of Excellence, Tiffany Award Sam Messer '74 Jennie C. Jones '96 Finalist Physical & Visceral, Krasl Gloucestershire; The Rococo Hunt A. Slonem '72 J.J. McCracken '12 Steve Locke '02 Rodney McMillian '00 Rema Hort Mann Art Center, St. Joseph, MI; Riots, VITRINE Bermondsey Foundation Grant Of That Which Concerns Street, London, UK Michael Rakowitz '96 Korakrit Arunanondchai '12 the Visual, Porter Butts Gallery, Madison, WI; Jody Wood Samantha Bittman and 5th International Video Art Gabriel Pionkowski, Thomas Festival of Camaguey, Various Residencies Robertello Gallery, Chicago, Locations, Camaguey, Cuba; IL; Wisconsin Triennial, Jody Wood VideoArt Abu Dhabi Art Hub, Djerassi Resident I-Park Foundation, The MacDowell Colony, The Sou’wester Madison Museum of Screening, Fitness Center for Abu Dhabi, United Arab Artist Program, Artist in Residence, Peterborough, NH Artist’s Residency, Contemporary Art, Arts and Tactics, Brooklyn, Emirates Woodside, CA East Haddam, CT Seaview, WA Madison, WI NY; Not Exactly: Between Michael Scoggins '03 Home and Where I Find Brenda Zlamany '84 Erik Geschke '96 Jayoung Yoon '09 Jessica Segall '10 Lydia Greer '08 Linda Molenaar '07 James Robert Southard '12 John Walter '12, The Wookie Hole (2013), digital print, acrylic, oil and resin on canvas, 24" x 30" Naomi Safran-Hon Myself, RedLine, Denver, CO; Alice Yard, C-Scape, Ucross Foundation, A Discourse on Plants, Requiem Praeter, Governor’s Port of Spain, Trinidad Fowler Dune Shack, Kohler Arts McColl Center for Visual Clearmont, WY RH Gallery, New York, NY; Island, New York City, NY Nicole Awai '97 Provincetown, MA Industry Program, Art, Gantt Center, Teresa Booth Brown '88 GO: a Community-Curated Lorna Ritz '68 Kohler Foundry, Kohler, WI Charlotte, NC Sandy Walker '63 2012 Open Studio Project, Brooklyn John Zappas Anna So Young Han MA; Green Acres, Arlington Arte Studio Ginestrelle, Celeste Roberge '79 Andrea Chung '08 Christopher Aque The Two Doors, Busan Arts Center, Arlington, VA; Museum, Brooklyn, NY; RE: Day Job (Don’t Quit Your), Assisi, Italy Fine Arts Work Center, UrbanGlass Homonyms (for Misfi ts and Biennale Special Exhibition, Green Acres, Katzen Arts SLAG GALLERY Booth 2.13, Work Gallery, Ann Arbor, MI; Lynda Frese '85 Provincetown, MA Lower Manhattan Millay Colony for Residency, Outcasts), PeregrineProgram, Busan Cutural Center Center Museum at American VOLTA, New York, NY; Two Stamps School of A&D Felipe Castelblanco-Olaya '12 Cultural Council the Arts, New York, NY Chicago, IL; Street Trash, Exhibition Hall, Busan, Korea University, Washington, DC; Times Gray, Slag Gallery, Faculty, Slusser Gallery, Ann Bemis Center for Gabriel Pionkowski '12 Lucas Blalock '11 Austerlitz, NY Hadassa Goldvicht '08 organized by Virginia Overton, Green Acres, Contemporary Brooklyn, NY Arbor, MI; Unsuddenness, Contemporary Art, Gordon Hall '13 Gabriel Pionkowski '12 Marshall Arts, Memphis, TN; Amber Hawk Swanson Art Center, Cincinnati, OH; Good Weather Gallery, Little Omaha, NE Glenfi ddich Amber Hawk-Swanson '12 Virginia Center for the Taken, Practice Gallery, The Participants at Denny Plot (performance), Artisphere, Becky Sellinger Rock, AK; Unsuddenness, Samantha Bittman '11 Artist-in-Residence, Irvin Morazon '09 Vermont Studio Center, Creative Arts, Philadelphia, PA; The Made- Gallery, Denny Gallery, Rosslyn, VA; Siamo Quel 20 Rainbows, Live Vessel & Page, Pontiac, MI Mike Calway-Fagan '11 Dufftown, Scotland Nyema Morgan '09 Johnson, VT Amherst, VA up Shrimp Hardly Enlightens New York, NY Jonathan Ehrenberg '11 Tara Pelletier '09 Virginia Crawford Melanie Kozol '80 Some Double Kisses, Laurel Beyond Sandy 2013, Andrew Ross ‘12 Pierrepont '85 Gitlen, New York, NY Emre Kocagil La Napoule Art Gullkistan Residency Jacolby Satterwhite '09 Zachary Fabri '13 Whitney Independent Future Folk, Part II, Loft 594, Foundation, France for Creative People, Jody Wood '12 Connie Hayes '89 Study Studio Program, Itziar Barrio Brooklyn, NY; Quandary, Monika Sziladi ‘08 Laugarvatn, Iceland Jordyn Oetken '13 Whitney Museum of Casting: The Perils of Neil Callander '05 Luminary Center American Art, LVL3 Gallery, Chicago, IL Bronx Museum Tomoe Tsutsumi '10 Obedience, ABRONS ARTS Severe Style, Leroy Neiman for the Arts, New York, NY International Artist Hewnoaks Artist Colony, CENTER, New York, NY; Center Gallery, Chicago, St. Louis, MO Taliesin Artist Danielle Dean '12 Residency, We Could Have Had It All, IL; VERY- Emre Kocagil @ Lovell, ME Ben Kinsley '06 Residency, Devin Kenny '09 Bronx Museum, Bronx, NY S2A, New York, NY Peanut Gallery, Peanut Gallery, Toni Jo Coppa '97 Wright School of Matthew Wilson '10 The Lighthouse Works Chicago, IL Pepe Mar '11 Christopher Patch '04 , Architecture, WI Felipe Castelblanco Olaya Fisher’s Island, NY Denali In-SITE b(ART)er Montana Torrey '06 The Foreigner, Spaces Gallery, Meredith James '12 Nicolas Mastracchio Artist-in-Residence, Collective Residency Cleveland, OH , Harold Mendez '13 Adquisiciones, donaciones Denali National Park, AK RedLine, Denver, CO y comodatos 2012, Museo Tyler McPhee '11 Wendy Klemperer '84 Jody Wood '12 Amy Flaherty de Arte Latinoamericano Palindromic Sequences, de Buenos Aires, Buenos Elizabeth A. Beland Gallery, Aires, Argentina; Nicolas Essex, MA Mastracchio, Galeria Pilar, Faculty Appointments Sao Paulo, Sao Paulo, Brazil Dan Gunn Art Brussels with J.J. McCracken Five Colleges Inc, Middlesex University, San Francisco Art The School of the Art Super Normal Festival, Moniquemeloche, Brussels A Recursive Lens, Hillyer/ Amherst, MA London, UK Institute, Institute of Chicago, Oxfordshire, England Expo (Heysel), Brussels, International Arts & Artists, Lorna Ritz '68 Rebecca Fortnum '91 San Francisco, CA Chicago, IL Brenda Zlamany '84 Belgium; Marine Salon No. 11, Washington, DC; Earth & Associate Member Professor of Fine Art Keith Hale '92 Edra Soto '00 Plein Air Workshop Visiting Faculty Instructor Marine Art Salon, Alchemy, Bakalar & Paine Haystack Mountain Portland State University, Santa Monica, CA Galleries at MassArt, Boston, Jody Wood '12, Beauty in Transition (2013), social intervention performance School of Crafts, School of Art and Design Deer Isle, ME Portland, OR Samantha Bittman '11 Erik Geschke '96 Instructor Associate Professor of Art

36 37 Grants & Fellowships Support

Adolph & Esther Haystack Mountain School of Gottlieb Grant Crafts, Mary B. Bishop and Thank You! Jeff Arnstein and Michael Field Thomas and Georgina Russo, Randy Wray '90 Francis S. Merritt Scholarship Sarah Bacon Gardner Russo & Gardner Virginia Crawford Pierrepont '85 ª Donald Baechler and Kevin Baker Robert and Rae Gilson The Skowhegan experience is most transformative when we don’t try to prescribe outcomes. We set the summer so that there is the room, the time, ª Burt Barr Kerry S. Gormley Albert K. Murray Fine Arts Madeleine Bennett y Mark Grotjahn and Jennifer Guidi Educational Fund Humble Arts Foundation, the will, and the enthusiasm to make anything happen. This fl exible and responsive framework is fundamental to the program, and it is made possible by Edye and Eli Broad, Sarah and Geoffrey Gund Toni Jo Coppa '97 New Photography Grant those listed below that generously contributed to Skowhegan over the past year. The Broad Art Foundation y Maya Hayuk and Andrew Deutsch Monika Sziladi '08 y denotes Skowhegan alumni Gifts received from Melva Bucksbaum and Michael Hecht American Academy in Berlin ª d enotes Skowhegan faculty 09/01/2012 – 09/30/2013 Raymond Learsy Jim Hodges William Cordova '03 Jerome Foundation, Travel Constance R. Caplan Marguerite Steed Hoffman and Study Grant $40,000+ $5,000–$9,999 Barbara Bertozzi Castelli David and Francie Horvitz Family Asuka Goto '08 Michael Clifford and Robert Levy Foundation Greg and Susie Palm, Mrs. Patricia Phelps de Cisneros Arts Collinwood Artists in James Cohan Gallery y Matthew Day Jackson The Palm Foundation y Daphne Cummings Residence Project Grant Eileen and Michael Cohen y Susan Goldberger Jacoby Jef Scharf '00 John S. Kittredge Mr. and Mrs. Judson P. Reis, Glenn and Amanda Fuhrman Contemporary Conservation Ltd. y Dr. Shoichi Kajima Foundation Grant The Sire Foundation Estate of Henry W. Grady, Jr. Warren and Brammie Cook yª Byron Kim and yª Lisa Sigal Tyler McPhee '11 The Greenwich Collection Ltd. Sharon Corwin, Colby College ª Joyce Kozloff Berkshire Taconic, $30,000–$39,999 Mr. and Mrs. Gordon Gund Museum of Art ª Guillermo Kuitca Artists’ Trust Award Mrs. Mildred C. Brinn, y Tonya and Kempton Ingersol Edward Page Crane Fund of the Stephanie and Jody La Nasa Lorna Ritz '68 Massachusetts College of Art Tatiana Piankova Foundation The Ronald and Jo Carole and Design Faculty Fellowship Maine Community Foundation Mihail S. Lari H. King and Jean Cummings Lauder Foundation Steve Locke '02 Nathalie and Charles de Gunzburg Galerie Lelong Charitable Trust Dorothy Lichtenstein British School in Rome, Abbey ª Rackstraw Downes ª Glenn Ligon Fellowship in Painting Ann and Graham Gund Victoria Love Salnikoff Jennifer and John Eagle Arthur L. Loeb Jonathan Baldock '07 New Jersey State Council Wilson and Eliot C. Nolen Cindy and Howard Rachofsky Josh and Purdy Eaton The Lunder Foundation on the Arts Fellowship Lisa and Reuben Richards Eleanor W. Revson and Andrew Edlin and Valérie Rousseau Matthew Marks Marsha Goldberg '83 Richard J. Lord Stefan Edlis and Gael Neeson Libbie J. Masterson Belle Foundation $20,000–$29,999 Anna Marie and Robert F. Shapiro Ronald Feldman Fine Art Anthony Meier Individual Grant Northern Manhattan Jan Aronson and Edgar M. Bronfman Maria Walker '11 Arts Alliance y Susan Paul Firestone Richard and Ronay Menschel Alison Crocetta '92 performing SURRENDER (New York) with Charlotte Schulz '92 y David Beitzel and Darren Walker $1,000–$4,999 Lynn Koble '94 Jeanne Donovan Fisher Alexander F. Milliken y Deborah Jones Buck Shelley Fox Aarons and Mark Fletcher and Tobias Meyer Bridget Moore and Chris Kotowski, BRIC Community Media Orange County Arts Davis Family Foundation Philip E. Aarons Vicki and David Foley DC Moore Gallery SkowheganPERFORMS Center Fellowship Commission, Artist Grant Katherine Farley and Jerry Speyer y Anonymous Larry Gagosian yª Carrie Moyer Nicholas Fraser '08 Mary Carter Taub '95 Agnes Gund September 28, 2013 Marie-Josée and Henry Kravis y Nicholas Lawrence Alumni activated Socrates Sculpture Park with an afternoon of Columbia College Faculty The Puffi n Foundation Richard T. Prins and Grant, Chicago Lynn Koble '94 performance at the third annual SkowheganPERFORMS. Site- Connie Steensma Anna Kunz '09 J.J. McCracken '12 specifi c performance works were located throughout the Park, Alan Wanzenberg taking into account the uniqueness that Socrates provides—its gardens, waterfront access, view of the Manhattan skyline, a Connect the Lines, Marbles San Francisco Arts $10,000–$19,999 fi eld of public sculpture, and visitors of all ages. Each original Kids Museum Commission, Individual Artist Eleanor Acquavella Dejoux Mary Carter Taub '95 Commission Grant work interpreted this year’s theme: PLAY. George W. Ahl III Christopher Sollars '98 Spike and Mary Lou Beitzel Marianne Boesky Gallery Performing Artists: The Foundation for Christie's Eun Woo Cho '08 Contemporary Arts, University of Westminster, Emergency Grant Department of Architecture Andrea Crane and Sam Hoffman Alison Crocetta '92 with Charlotte Schulz '92 Monika Sziladi '08 John Walter '12 ª Mark di Suvero John Dombroski '13 Dune Real Estate Partners, LP Linda Ford '02 Chiara and Ben Edmands Daniel Giles '13 with Diana Harper Ford Family Foundation The Horace W. Goldsmith Foundation Fellowship Robert L. Looker John Landewe '00 Erik Geschke '96 Megan Marlatt '85 & the Big Head Brigade The Looker Foundation Mores McWreath '13 John Melick ª Donald Moffett and Linda Molenaar '07 Hamiltonian Artists Fellowship Mike Calway-Fagan '11 ª Robert Gober Ross Moreno '03 & Justin Cooper '07 Emily and Mitchell Rales Barb Smith '12 y Elizabeth Sidamon-Eristoff Clare Torina '12 Harpo Foundation Fellowship and Hunter Lewis Tomoe Tsutsumi '10 Jeremiah Hulsebos-Spofford '11 Sotheby's David Zwirner

38 39 y Nancy B. Negley y Rhoda Ross Up to $249 y Douglas Bosch y Kirsten and Michael Doyle y Diana Jensen y Mr. and Mrs. James Opinsky Jacqueline and Mortimer Sackler y Lauren F. Adams y Ralph M. Bourque II y Craig Drennen y Mary Judge John W. Payson y Cathy A. Sarkowsky Bill Aguado y Astrid M. Bowlby y Christopher Duncan James D. Julia Thomas Phifer Steve Shane y Diana Al-Hadid ª Katherine Bradford y Ellen Levine Ebert Edward L. and David Rockefeller Sikkema Jenkins & Co., New York y Becca Albee y Sarah Brenneman y Angela Ellsworth Helena L. Kadunc David and Susan Rockefeller y Nataliya Slinko and Michael Ludwig y Eleanor Aldrich y Ken Buhler y Abraham Elterman y Yoshiko Kanai Gregory and Jeanine Rush Katie and Jonah Sonnenborn y Brian Alfred yª Tom Burckhardt and y Karen Eskesen y Annetta Kapon Louisa S. Sarofi m Patricia Brown Specter y Luis Alonzo Kathy Butterly y Patricia Esquivias y Nils Karsten Mr. and Mrs. Peter L. Sheldon y Marc Swanson and ª Emma Amos y Thomas Burke y Yvonne Estrada y Nancy Modlin Katz John Silberman Joe Mama-Nitzberg y Eric Angles y Heather Bursch and y Harrison Williams y Gwen Kerber y Hunt Slonem Thurston and Sharon Twigg-Smith y Anonymous y Nao Bustamante y Hersha Evans y James Kielkopf Nancy and Burton Staniar Dorsey Waxter Are You Ready to Party?? y Ingrid Calame Constance Evans y Patrick Killoran Howard and Donna Stone Sarah Frances Workneh Artist & Craftsman Supply Caldbeck Gallery y Benjamin A. Fain y Kyle Kilty William Susman and Emily Glasser William Wright II ª Richard Artschwager y Beth Campbell Farnsworth Art Museum y Becky Kinder Bailey W. Symington y Colleen Asper y Tim Campbell & Wyeth Center y Yashua Klos Clare and Eugene Thaw $250–$499 y Nathaniel Axel y Jennifer Sullivan Carney ª Rochelle Feinstein y David J. Knoebel Connie and Jack Tilton Aesop y Nadia Ayari Center for Maine Contemporary Art y Amy Feldman y Robert S. Koffl er Gordon VeneKlasen y Mary A. Armstrong y Philip Ayers y Dawn Chandler y Mark Ferguson y Elizabeth Krakow Scholarship Grants Thea Westreich and Ethan Wagner y Nicole Awai y Pasqualina Azzarello y Nicole Agbay Cherubini y Ash Ferlito y Josephine Wu Kratz Francis H. Williams Anthony Aziz, Parsons the New y Paul Banas y Christopher Chiappa y Jeanette Fintz y Anna Kunz At Skowhegan, artists are accepted based on artistic merit, not fi nancial y Rosemarie Fiore y Wok Marcia Kure School for Design Nicholas Baume Molly Christian circumstance. The egalitarian nature of the program ensures that we, $500–$999 Paul Beirne y David Coggins y Sharon Fishel Sharyn Lach y Carol Beckwith and all of our funders, are supporting the future of artmaking by bringing Debra Tanner Abell, MD and yª Dike Blair y Sarah Bedford y Maurice Colton III y David Flaugher y Gwenessa Lam together the most talented and groundbreaking artists, regardless of ability y Cullen Washington Holly Block y Jesus Benavente Marella L. Consolini y Robert N. Flynt y John Landewe to pay tuition. In 2013, scholarships were provided to 98% of participants E.B. Alexander y Sandra F. Blum y Keren Benbenisty y Carol H.P. Cooper y Linda M. Ford Heidi Lange Camilø Álvårez, Samsøn y Daniel and Susanna Bozhkov ª Bill Berkson and Connie Lewallen y Toni Jo Coppa y Rebecca Fortnum Barbara Lapcek and Skowhegan was able to fulfi ll its pledge to them as a result, in part, John J. Anselmi y Joan Branca y Michael Berman y Heather Cox y Rachel Frank y Annette Lawrence of the generous gifts provided by the following foundations and individuals. yª Francis Cape and y Liza Phillips y Megan Cump y Lynda Frese y Suzanne Ragan Lentz Richard Armstrong y Caitlin Berrigan $25,000+ ª Vija Celmins y Erin Curtis y Jon R. Friedman y Dan Levenson Elizabeth Baker yª Michael Biddle The Brown Foundation The Florence V. Burden Foundation ª Mel Chin y Onda F. D'Urso y Victoria Fu y Margaret E. Libby y Samantha Bittman National Endowment for the Arts at the recommendation of y Barnett Cohen y Lucas Blalock y Alec Dartley y Robert Gainer y Tony Ligamari and Juana Foundation Directors Ordway y Monica Cook Lotte Blaustein Joshua David y Lilian Garcia-Roig Schurman and Jean Burden Rebecca Cook and Bernard Dickens y Mara Bodis-Wollner y Stephanie Diamond ª Kate Gilmore y Joan Linder $10,000–$24,999 Arcus Foundation yª Deborah Butterfi eld & Paula Cooper Gallery y Willard Boepple y David Michael DiGregorio y Helen Glazer y Sandy Litchfi eld Gesso Foundation y John Buck Mary and Max Davidson Meghan Boody ª Lois Dodd y Leslie A. Golomb y Steven Locke Pierre and Tana Matisse Foundation Mrs. Iris Cantor Simone Douglas, Parsons the y Tracey Goodman y Nan Hall Lombardi Rachel Churner New School for Design y Asuka Goto ª Angela Lorenz $5,000–$9,999 yª David Driskell y Elizabeth D. Dovydenas yª Philip M. Grausman y Gregg Louis Colección Patricia Phelps de Cisneros Elizabeth Finch, Linda Earle Matching Tuition Schools Francis Greenburger yª Whitfi eld Lovell Creative India Colby College Museum of Art Kathleen Flynn y Clare Grill y Tristin Lowe y Meredith James y James Franklin ª Richard Haas y Emily Mast and y Yvonne Lung Anna-Maria and Stephen Kellen Foundation, James Goodman Gallery Jenny Holzer In 2013, the following schools provided scholarships so that current y Karl Haendel y Robert MacDonald as recommended by Barbara and Andrew Gundlach in honor of Andrea Crane, Victoria Love Salnikoff & Chiara Edmands Robert Hammond Mr. and Mrs. Edgar B. Howard y Christina Haglid Madison Business Gateway students, and in some cases alumni, could attend Skowhegan. y Nicholas Lawrence Kate Haw yª Alex and Ada Katz y Douglas E. Hall y Katherine Mangiardi Toby D. Lewis Elizabeth A. Hall ª Iñigo Manglano-Ovalle Marieluise Hessel California Institute of the Arts $1,000–$4,999 Buff Suzanne Kavelman Glenn and Susan Lowry ª Jane Hammond y Jason Manley Edward Page Crane Fund of the Maine Community Foundation, Carnegie Mellon June Kelly Gallery Candice Madey y Gail A. Hansberry y Penelope Harbage as recommended by Ken Crane Noel Kirnon y Charles Marburg Columbia University y Jeffrey S. Hargrave Manzella The William T. Kemper Foundation, as recommended by Laura and Michael Fields Kenneth F. Koen ª Kerry James Marshall Cranbrook Academy of Art y Heather Hart ª Fabian Marcaccio Frances Lewis Kyes Insurance ª Suzanne McClelland Maryland Institute College of Art y Lynne Harwood Marden, Dubord, y Wendy F. Lang yª Dave McKenzie Massachusetts College of Art & Design y Connie Hayes Bernier & Stevens Endowed Scholarships y Stephen Hendee y Monica Martinez yª Anissa Mack y Catherine Murphy Northwestern University Bingham Scholarship Catherine MacMahon Jane Panetta y Carol Hendrickson y Natasha Mayers Camille Cosby Scholarship Parsons the New School for Design yª Virgil Marti and Peter Barberie ª Paul Pfeiffer Heritage House Restaurant ª Marlene McCarty Donald and Doris Fisher Scholarship Pratt Institute Elizabeth Mayhew y Daniela Rivera y Katie Herzog y Lilly McElroy Gober-Moffett Scholarship Tiffany Moller Nancy Roskind School of the Art Institute of Chicago y Sarah Hewitt Miko McGinty and Ann and Graham Gund Scholarship George Gund Scholarship y Bonnie S. Newman ª Allen Ruppersberg Temple University, Tyler School of Art y Ulrike Heydenreich y Nathan Carter Alex Katz Scholarship y Ditta Baron Hoeber y Sarah L. McMenimen y Heidi Nitze y Becky Sellinger University of California, Davis Jacob and Gwendolyn Lawrence Scholarship y Sarah Hotchkiss y Emil A. Mellow II yª Sheila Pepe ª Arlene Shechet University of California, San Diego Peter Lewis Scholarship Christine Van Deusen y Ridley Howard y Frank Meuschke Portland Museum of Art University of Pennsylvania Toby Fund Scholarship B. Rodriguez-Cubenas Bridget and Patrick Wade y Bryan Elliott Hundley y Ander Mikalson Don F. Turano Scholarship University of Texas at Austin Jeanne Greenberg Rohatyn ª William Wegman y Anthony Iacono y Rebecca A. Miller Wallace-Reader’s Digest Scholarship John and Carolyn Rosenblum Kate Werble Virginia Commonwealth University y Frank Jackson y Wesley Miller W & M Zorach Scholarship y Catherine Ross Cecilia and Ira Wolfson Washington University in St. Louis y Michael L. Jackson If you are interested in learning more about how to endow a Skowhegan scholarship, or support a current participant, please contact Marie Weller at [email protected] or 212.529.0505.

40 41 Awards Dinner

Co-chairs Robert Gober (F '94) & Donald Moffett (F '04) and David Beitzel (A '82) & Darren Walker hosted the 2013 Skowhegan Awards Dinner in New York City. Awards went to The Guerrilla Girls (Outstanding Contributions to Artmaking); John Outterbridge (Outstanding Service to Artists); and Andy Warhol (Outstanding Patronage of the Arts), and raised over $350,000. Save the date for next year’s event on April 29, 2014.

11 12

02

01 Thank you, Jane, for your kind introduction, and for the tremendous contributions that you’ve 03 made over the years to the Warhol Foundation Board. As Jane and I both know, The story of Andy Warhol’s philanthropy is a remarkable one. Who would have imagined when Andy Warhol entered the hospital for a routine gallbladder operation at age 58, that he would never come out alive? Yet fortunately, he had prepared for that moment – with a will providing for the creation of a charitable foundation to advance the visual arts, to which he left almost everything he owned, including all of his art. And that extraordinary gesture, toward an unknown future, turned out to be one of the most consequential of his entire career.

For 25 years, the Warhol Foundation has tried to honor his legacy by advancing the fi eld of contemporary art. During this time, we have given away nearly a quarter billion dollars in grants 04 to worthy artists and non-profi t arts organizations in all fi fty states; and have donated more than 33,000 works of Warhol art to more than 200 museums throughout the country. But just as important as what we’ve accomplished are the core values, which underlie all that we do:

y An abiding concern for artists, and the arts organizations that support them; y An unbreakable commitment to freedom of expression; and, 07 y A wide embrace of diversity; of experimentation; of the challenging and the new.

Andy Warhol accepting the Skowhegan We’re proud of what we’ve accomplished, and we think Andy would be too. And I think it’s more Medal for Graphics from Henry than just a coincidence, that in 1942, the estate of a little known Pittsburgh painter named Martin Geldzahler in 1979 B. Leisser, established the Leisser Trust and the Leisser Art Fund, which were the fi rst artist endowed philanthropies in America to provide dedicated support to both a cultural institution 05 06 (the Carnegie Museum of Art), and an educational institution (the Carnegie Mellon School of Art); and that one of the fi rst Leisser Prizes for an outstanding body of work was won by a young art student named Andy Warhola. It’s clear that in the realm of artists helping other artists – a seed planted in one generation blossoms in the next.

While it’s unfortunately still true that a great many artists have a diffi cult time earning a living from their work alone, there are a growing number who have assets way beyond anything they ever dreamed of. It’s my hope that by Andy’s example, and by Skowhegan’s recognition of it this evening, we will inspire today’s generation of artists to plant the seeds for helping the next.

08 09 10

01 John Outterbridge 02 Eileen Cohen, Christine Vachon and Martin Kersels (F '10) 03 Young New Yorkers’ Chorus performs Ander Mikalson’s (A '12) Score —Joel Wachs, President, The Andy Warhol Foundation for the Visual Arts for the Big Bang 04 Richard Armstrong and Ann Gund 05 Korarkrit Arunanondchai (A '12) and Nataliya Slinko (A '10) 06 Jesus Benavente (A '12) performs Acceptance of the Gertrude Vanderbilt Whitney Award for Outstanding Patronage Ascension with dinner guests 07 Marlene McCarty (F '11) and Donald Moffett (F '04) 08 Bill Griswold and Susie Palm 09 Darren Walker, Max Anderson, of the Arts on behalf of Andy Warhol, presented by Jane Hammond (F '92, '05) and Anges Gund 10 Kate Levin, Mark Di Suvero (F '83), and Maria Elena González (F '05) 11 Joel Wachs 12 The evening’s Honorees and Presenters

42 43 y Tracy Miller y Barb Smith Gifts in Honor & Memory of y Ann-Michele Morales y A.J. Smith, Jr. In Memorium y Saya Moriyasu y Ellen M. Soffer y James Morris y Kathleen Soles $2,500–$9,999 Elise Gardella In memory of Letty Gardella y Ilse Murdock y Molly Springfi eld John Wallace (A '53 & '54) was the recipient of the Margaret Tiffany Blake Award to David Baum y Eliza Myrie y Joan Steinman create a fresco in the South Solon Meeting House along with Skowhegan founders In memory of Henry W. Grady y Paula S. Heisen Alan Newman y Aaron T. Stephan In memory of Susan Shatter Willard Cummings and Henry Varnum Poor. Fifty years later, Wallace returned to the The Barbara Dorsch Foundation y Jann Nunn y Faith Stern In honor of Henry W. Grady y Alicia Henry y Walter O'Neill y Luke Stettner Meeting House in 2006 to sign his fresco, and in 2005 participated in a symposium In memory of Gelsey Verna y Margaux Ogden y Ambrose Stevens celebrating the Meeting House restoration. He was a member of Blue Mountain $500–$2,499 Valerie Cassel Oliver Barbara Sullivan y Shelley Herman Gallery in New York City and had many solo exhibitions over his 60-year career as a Anonymous y Mrs. John D. Peabody yª Julianne Swartz In memory of Marcia Green Gardére painter. Wallace was art professor emeritus at Western Connecticut State University In memory of Bill Cummings ª Alix Pearlstein y Fabian Tabibian y Suzanne Hodes y Signe Schmidt Petersen y Michael Tcheyan and taught at Prairie State College, Illinois. December, 1929–April, 2011. $250–$499 In memory of Bill Cummings y Virginia C. Pierrepont y Fabiola Menchelli Tejeda Charles R. and Rita Bronfman y Alejandro Pintado y Mary Temple Wallace's fresco, Angel Choir, at the South Solon Meeting House in 1954. In honor of Jan Aronson y Joanna L. Kao In memory of Sarah Warren y Gabriel Pionkowski y Hank Willis Thomas Barbara F. Lee y Amy D. Podmore y Niels Thorsen y Noah Klersfeld In honor of Ann Gund y Charlotte Present y Miryana Todorova In memory of Edward Klersfeld Boards & Staff Diane Posnak y Lester F. Pross y Clare Torina In honor of Millie Brinn y Elaine Taylor Krogius y Amy Pryor Towne Motel In memory of Sidney Simon y Ronny Quevedo y Nicole Tschampel y Jose Antonio Smith BOARD OF TRUSTEES BOARD OF GOVERNORS GOVERNORS EMERITI YEAR-ROUND STAFF Archive y Kanishka Raja y John W. Udvardy In memory of Priscilla Carrasquillo y Jennifer Sullivan Ann Gund, Chair Dave McKenzie (A '00, F '11) Lois Dodd (F '79) Christopher Carroll (A '08), Elizabeth Mooney In memory of Marian Mingos y Birgit Rathsmann y Carrie Ungerman Gregory K. Palm, President Chair William King (A '48, '51, '52, Program Coordinator Up to $249 yª David Reed y Louisa Van Leer Maria Elena González (F '05), F '67, '75, '77, '82, '89) Elise Gardella, Food & Residence Service yª Altoon Sultan Richard T. Prins, Treasurer Lucas Reiner y Jonathan J. VanDyke Vice Chair Offi ce & Board Liaison Waneeta Marquis, y Anonymous In memory of Blinky Palermo Andrea Crane, Secretary Chef and Food Service & y Jaye Rhee y Susanna G. Vapnek Emma Amos (F '86, '97, '06) William Holmes, In memory of Bill Cummings George W. Ahl III ADVISORY COMMITTEE Residence Manager y Ken Tighe y Matthew Rich y Sandy Walker Jan Aronson Janine Antoni (F '98) Campus Grounds & y Anonymous In honor of Byron Kim and Douglas S. Cramer Maintenance Manager Jon Logan y Angela Ringo y Richard T. Walker David Beitzel (A '82) Donald Baechler (F '94) In honor of Guy Debord in memory of Ingrid Muan Philippe de Montebello M.E. Malone, Food & Residence y Celeste Roberge y Maria Walker Grace G. Bowman Daniel Bozhkov (A '90, F '11) David Driskell Archives Coordinator Assistant, Van Driver y Christy Bergland y Steven Yazzie y Jacque Rochester y Kristin E. Wanek Louis Cameron (A '96) Mildred C. Brinn, (A '53, F '76, '78, '04) & Commmunications Alisha Rose Marquis, In honor of Joan Kolker In honor of one of the most amazing yª Hanneline Røgeberg Ware-Butler, Inc. Lumber & Chair Emeritus Francis Cape (A '89, F '08) Kathy Halbreich (A '65) Assistant Assistant Chef experiences of my life y James A. Rose, Jr. Building Supply Warren C. Cook Mel Chin (F '95) y Valery F. Daniels John L. Marion Katie Sonnenborn, Chelsey Peters-Summers y Wendy and Dan Rowland y Ian Warren Daphne Cummings (A '82) In memory of Rudy Burkhardt Eleanor Acquavella Dejoux Kynaston McShine Co-Director Assistant Chef yª Christy D. Rupp y Ishmael Randall Weeks Martha Diamond (F '77, '83) Chiara Edmands Richard E. Oldenburg Marie Weller, George Daniel Watts III If you would like to make a gift in memory of someone, or include Skowhegan in your estate ª Alison Saar y Phil Whitman Anoka Faruqee (A '95, F '10) Susan Paul Firestone (A '72) Linda Shearer Development Manager Assistant Chef planning, please contact Marie Weller at [email protected] or 212.529.0505. y Naomi Safran-Hon y Allison K. Wiese Guy Goodwin (F '88, '93) Robert Gilson Lowery Sims Sarah Workneh, Shawn Thornton (A '02), y Gabriela Salazar y Abbey Williams and y David Hardy Tonya Ingersol (A '02) Richard Haas (F '82, '84) Co-Director Baker y Claudia Sbrissa y Tamasha Williamson Jane Hammond (F '92, '05) Pam Fuller Robert L. Looker ALLIANCE y Ralph Scarcelli y Joannah C. Wilmerding Victoria Love Salnikoff Bill Jensen (F '83, '86) John Harlow Pasqualina Azzarello (A '08) y Anna P. Schachte y Matthew Wilson Libbie J. Masterson Byron Kim (A '86, F '99) 2013 SUMMER STAFF Darci Kovacs Co-Chair y Carrie Schneider y Letha Wilson John Melick Guillermo Kuitca (F '99, '04) Program Coordinator Cailee Manzer Adam Shecter (A '06) y Rachel C. Schuder y Carmen Winant Wilson Nolen Tommy Lanigan-Schmidt Katherine Leisen Aaron McKusick Co-Chair Eve Payne y Charlotte Schulz y Randy Wray Judson P. Reis (F '91, '92, '97, '13) y Robert Michael Scoggins, Jr. y Katie Wynne Whitfi eld Lovell Jesus Benavente (A '12) Deans Kathleen Sousa Eleanor W. Revson Michael Berryhill (A '07) y Jessica Segall y Gordon Yee (A '85, F '01, '02, '05) Alan Calpe (A '06) Lisa Richards Carmen Winant (A '10 ) Grounds & Maintenance ª Iñigo Manglano-Ovalle (F '02) Andrea Chung (A ‘08) y Beverly Semmes y Andrew Yoder Robert F. Shapiro Ralph Drouin, Grounds Staff Fabian Marcaccio (F '97) Esteban del Valle (A '11) y Abigail Shahn y Ja Young Yoon Alan Wanzenberg Fresco Kevin Flanagan, Carpenter Marlene McCarty (F '11) Don Edler (A '12) y David Shapiro y Claire Zitzow Nicholas Sean Glover (A '03) Larry Gray, Grounds Staff Suzanne McClelland (F '99) Rachel Frank (A '05) y Adam Shecter TRUSTEE EMERITUS Peter Jillson, Grounds Staff y Kate Shepherd Donald Moffett (F '04) David Lawton Hardy (A ‘04) Library John W. Payson Maya Hayuk (A '11) Ron Pinkham, Grounds Staff y Jean Shin Carrie Moyer (A ’95, F '10) Meredith Gaglio, Peter Campbell, Gardener Shoshana Wayne Gallery Alix Pearlstein (F '04) Becky Kinder (A '04) Head Librarian y Binod Shrestha Paul Pfeiffer,(F '05, '10) Noah Klersfeld (A '03) Judith Stoodley, Librarian 2013 Journal Design y Jennifer Monick and y Gedi Sibony Howardena Pindell (F '80) Dan Levenson (A '09) psnewyork.com Media Lab y Alan Singer David Reed (A '66, F '88) Katie Mangiardi (A '07) Christopher Carroll (A '08), y Clarissa T. Sligh Allen Ruppersberg (F '01) Eliza Newman-Saul (A '05) 2013 Journal Printer Media Lab Manager RMIprinting.com ª Alison Saar (F '93) Lilly McElroy (A '06) y Cauleen Smith Lilly McElroy (A '06), Beverly Semmes Jill Pangallo (A '10) y Shinique Smith Media Associate Photography (A '82, F '01, '05) Meridith Pingree (A '03) ª Michael Smith Christopher Aque Birgit Rathsmann (A '04) Lisa Sigal (A '86, F '06) Sculpture Shop Manager Christopher Carroll Kiki Smith (F '93) Blithe Riley (A '09) Chris Domenick (A '12) Mauro Giaconi Robert Storr (A '78, F '02) Gabriela Salazar (A '11) Kathy Leisen Marc Swanson (A '00) Carrie Schneider (A '07) Joiri Minaya Julianne Swartz (A '99, F '08) Michael Scoggins (A '03) Omar Rodriguez Graham William Wegman (F '83, '92) Becky Sellinger (A '12) Fred Wilson (F '95) Fabian Tabibian (A '10) 44 Nicole Tschampel (A '01)