SKOWHEGAN Journal 2012

03 Features 16 39 Art School Road Defi ning Roles: with an original artwork by Sarah Hotchkiss Teacher / Mentor / Crazy Uncle Dike Blair with Jesus Benavente, Ash Ferlito, Park McArthur, Ian Page, and Marisa Williamson 23 Alumni News

Aleatoric Affi nities: John Cage and Maria Elena González’s 24 Off-Campus Programs Skowhegan Birch # 1 Marshall N. Price The Present Classification 37 Support Heather Hart, Steffani Jemison, and Jina Valentine The Path and the Flash A conversation with Paul Pfeiffer Editioned Postcard

Exhibitions from the Archives by Maria Elena González Oral History From the Board Leadership

Dear Friends,

Whether you are an artist or an art lover, if you are reading this journal you share our belief that it is crucially important to support the future for artmaking. Since 1946, Skowhegan has played an essential role in contemporary culture by providing emerging artists with an intensive nine-week session that is immersive and often transformative. Year after year we are impressed by the caliber, commitment, and enthusiasm of the participants who truly make the most of their time on campus.

This summer was no different. As evidenced during Trustees’ and Governors’ weekend, the class of 2012 embraced their summer and took maximum advantage of Skowhegan’s resources. We could hardly take a step without encountering a performance, installation, or event, and there was a palpable sense of the strong camaraderie that was forged by this intergenerational group of artists. Also of great interest was an exhibition of recently re-discovered landscape works made on campus in the 1950s, ’60s, and ’70s.

Off-campus, Skowhegan has been busy as well. This fall we will complete 15 months of work on a comprehensive strategic and organizational plan. This exercise in self-refl ection and assessment has been hugely benefi cial. We have emerged with renewed conviction about the importance of Skowhegan’s mission, and the strategies for fulfi lling it. Programming between September and May also continues to grow, and in the last year we expanded our activities to the West Coast with three events in Los Angeles. An illuminating Oral History project has begun to capture the stories of individuals who have helped defi ne and develop Skowhegan. Like the small on-campus exhibition, these stories are recording a history that tracks the evolution of contemporary artmaking in America, and Skowhegan’s role therein. Though still in a formative stage, we are eager to see how these archival projects unfold, both as entities on their own, and as complements to the irreplaceable and widely used Lecture Archives.

Skowhegan’s successes are due, in no small part, to our exceptional team. In Maine and New York City, our faculty artists, academic staff, maintenance crew, residence staff, and administrative staff are dedicated and talented professionals, and we are grateful for their commitment. We are also pleased to welcome Katie Sonnenborn who joined Sarah Workneh as Co-Director in late February. Together, their efforts over the past year have been outstanding.

On the following pages, you will discover essays and artworks by members of the sprawling and creative Skowhegan community. We hope you will enjoy reading, and continue to make Skowhegan a part of your cultural life.

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

From Bill Holmes’s Notebook:

2 2 Features

Defi ning Roles: Teacher / Mentor / Crazy Uncle Dike Blair with Jesus Benavente, Ash Ferlito, Park McArthur, Ian Page, and Marisa Williamson

“Every summer is different” is an oft-repeated phrase at Skowhegan and the summer of 2012 was no exception, although it did seem an especially good one. Sarah Workneh and the returning staff noted early on that the 2012 participants were particularly fast out of the gate and exhibited a stronger than usual desire to make collaborative works with a leaning towards performance, and participant organized discussion groups.

So things were well along and in great shape by the third weekend in July when the faculty report to the Trustees and Governors at their summer meeting. Perhaps the only thing not in great shape was the faculty itself. Kate Gilmore, Rochelle Feinstein, Virgil Marti, Cauleen Smith, and I all felt slightly confused. Simply put (and I am oversimplifying here), we felt like a faculty without students. Now, all of us are experienced teachers and used to the pedagogic fl exibility necessary to teach students and groups of students of varied ages, experience, and talent. But here we had a large number of talented participants, some of whom were already engaged with an art world that has become increasingly professionalized, and most of whom (seemed) to consider Skowhegan a residency rather than a school. Each of us responded with a different approach, and Sarah couldn’t have been more sage in guiding us, but I think I speak for all of us in saying that we would have welcomed a little more defi nition of what the roles, relationships, and even the interactions should have been between faculty and participants.

I attended Skowhegan as a participant in 1974. Skowhegan is remarkable in the ways it has remained consistent, as well as in the ways it has changed. From the standpoint of a framework, the structure of the program has essentially stayed the same, with the magic lying in the particular mix of individual participants and faculty members. In looking at the constellation of art organizations, art education options, residency programs, galleries, museums, alternative venues, and the expanded mobility of emerging artists in gaining/creating access to these opportunities, it seems clear that the experiences of recent faculty and participants at Skowhegan would be partially informed by their experiences in the outside world, and therefore largely different than my own experience 38 years ago. So, if the operating model of Skowhegan is taken for granted—fi ve long-term Residential Faculty, 65 “emerging” visual artists, six Visiting Faculty, formal studio visits, informal events and community—what pedagogical shifts are to be expected in a 66-year old institution that while intentionally removed, exists within a larger system? Perhaps, you understand our confusion.

At the aforementioned board meeting, the Trustees and Governors asked us a number of thoughtful questions and had meaningful observations relating to these issues. I particularly remember Governor Francis Cape’s (A ’89, F ’08) very pertinent comment that negotiating the relationship between participants and faculty is actually part of the experience, part of what Skowhegan is about. Perhaps I was naïve, but I hadn’t actually considered that shaping Skowhegan’s educational model for this

Resident Faculty Artist Dike Blair leading one of 5 slide presentations of images he had collected while visiting exhibitions over the past 10 years.

3 4 particular group of individuals was part of my purpose there— Park McArthur: I imagined Skowhegan to be a residency experience MW: If Skowhegan wants to actively redefi ne school to include Do you think a faculty (or full-summer, artists-in- or part of why “every summer is different.” with a lot of alone time for individual work, and with an emphasis on the sense of immersion—that would be good. But it should also residence) is a good thing? Would a greater variety studio visits as a pedagogical and networking tool. be clear that there are no signifi cant requirements or formal of temporary artists-in-residence be preferable? If so, While slightly anxiety inducing—the notion of adjusting a pedagogy academic structures. Even the studio visits sometimes felt like would you formalize interactions between participants to a particular group, in a particular summer, and sometimes on a Ian Page: I had not even considered that Skowhegan was a school. afterthoughts. While some of those visits were incredibly important and artists-in-residence? The people I know who had gone previously never referred to it as to me, they didn’t feel like school in the same way that having particular day does allow for a more personalized, and seemingly school, nor did they mention there was a faculty. group critiques would have. JB: I think that full-time, always there, sharing a meal with you faculty is meaningful, exchange between participants and faculty. Yet, it raises very important. I think having the visiting artists stay a little longer would the question of whether or not “openness” and “fl exibility” within a Marisa Williamson: I thought of Skowhegan as a residency. be great, and very much in the spirit of Skowhegan. set framework is enough of a pedagogy on its own. If that pedagogy Skowhegan is very different from graduate school. Graduate school is What were your expectations in terms of “faculty” is, in fact, the point, then fi guring out the goals, priorities, roles, rigorous because you get evaluated, there are critique classes, there and instruction? Were you satisfi ed with the formal AF: I think having long-term resident faculty is a good thing. Ideally activities, interactions that set that base framework is likely where is a sense of competition and urgency. Skowhegan is rigorous maybe studio visits? If not, how do you think things might I think the same bonding, collaboration, access and support that the adjustment to the program in a long-term sense should lie. Over because none of those things exist and people are forced to burrow very be arranged differently? happens between participants should especially happen between faculty the summer, the pedagogy and the framework were constantly deep into their practice and into themselves, without worldly interruptions. and participants. I think that reducing the distance between people butting up against each other—some of it from each player retaining JB: It seems the word faculty is used in much the same way as who have only made art for a few years with those who are heavy an expectation that this experience would replicate some of the school. Faculty defi nitely isn’t the right word. What is? Crazy hitters in the game is an incredibly powerful thing. I think the benefi ts of Do you think we might have been—consciously or not— Uncle? Annoying Sister, the one who points out all your mistakes? Skowhegan should have far-reaching benefi ts off-campus and possibly known roles and hierarchies of school-student, faculty-participant part of a broader defi nition of what a “school” could or I never felt I was in a teacher/student relationship, we were faculty/ have positive repercussions in the art world at large—a faculty in and some of it from not knowing how in this particular place those should be? Do you think that kind of negotiation should participant. The faculty didn’t really behave like teachers in that a residence helps enable that. relationships would function differently. Clearly the participants and be considered part of Skowhegan’s charter? teacher is someone who comes and goes. You don’t form real faculty had many meaningful interactions and next year’s faculty may attachments to students because the next batch arrives the next IP: I think having a full-time faculty is an excellent thing. While I’m not a have few of the questions or issues that we had last summer, but JB: I’ve always thought of school as being a structurally semester. At Skowhegan, you have the summer, 9 weeks without particular fan of the “top-down” kind of critique, I did fi nd a lot of personal as with any institution that has the benefi t of a founding vision and a restricted form of learning. While I do think that Skowhegan has any escape. The faculty is there and they cannot escape you and resolution resulted from those critiques. I liked the protocol of formalizing long history, it seems important to engage in a discussion about the a structure... I don’t know if I would call that structure a school. you cannot escape them. We are all forced to see each other beyond the visits in the fi rst half of the summer and then making them voluntary. intended relationship between participants and faculty and revisit the It is not a grad program that pushes a dogma; it’s not an undergrad the rudimentary concepts of teacher/student. defi nition of Skowhegan’s mission relative to the framework and the program that introduces you to the basics. It is more an opportunity PMcA: I think a full-time faculty is a great thing. The main reason I pedagogy in a contemporary context. If the day-to-day methodology to take something we know and do something different with it. AF: Going in I was excited to receive feedback from the faculty, but came to Skowhegan was for this intergenerational experience. It is rare I was not anticipating any instruction or pedagogy. The formal studio for emerging artists to work alongside with those who are established. is responsive, explicating the framework for where that fl exibility is AF: I felt a tremendous sense of freedom, a spirit of collaboration visits were not disappointing, but from the onset they seemed to carry I believe it is very important to formalize interactions, as some participants rooted seems critical. and much encouragement to extend my ideas and to make use an anxiety about their intention or purpose. I participated in a one-time may be shy or reticent to solicit visits and, secondly, dinner parties and of the available resources at Skowhegan. I felt really lucky to be experimental all-faculty group crit that took on a surprisingly academic receptions are weighted heavily towards extroverts and may not make So, in the spirit of Skowhegan’s history as a school run for artists by there, like I was a part of something special. I wish grad school tone and was far less productive than the participant-run weekend space for those who share and make connections differently. artists it seemed not an uninteresting thing to poll a few of its most had had the same tone. critiques, which had a workshop vibe and felt supportive and honest. recent artists—last summer’s participants—about their experiences MW: I think the full-summer faculty is completely necessary. I would relative to these issues. Jesus Benavente, Ash Ferlito, Park McArthur, PMcA: I do believe Skowhegan’s charter should state more clearly IP: I had never really used the term “studio visit” before coming not change that setup at all. I liked the visiting artists, but having a “core Ian Page, and Marisa Williamson were extremely generous with their its pedagogical framework. For example, the switch from “student” to Skowhegan and I had never before formally met with someone family” of participants and faculty seems essential to the experience. time and thoughts, and what follows is an abbreviated version of what to “participant” signaled a change in mission from being a school to I didn’t know to talk about my work. Simply put, I had no preconceptions they sent me in response to my questions. becoming more of a professional development opportunity. While about the visits. Looking back, I really wanted to be challenged and the residency’s name remains “School of Painting and Sculpture” to have to defend myself in the studio visits. That never happened, but (signaling the residency’s history), the title does not note all of the in many ways I appreciate the transference of energy that came with ways the residency has changed in keeping with contemporary art in someone who is doing well acknowledging that I am doing pretty What were your preconceptions about Skowhegan in general: majority interdisciplinary practices, majority digital tools and okay myself. I do wish I’d asked more of the simple questions, like techniques, and an emphasis on socializing rather than classroom time. Dike Blair, 60, is a painter and sculptor who lives in NYC. He attended Skowhegan terms of it being more of a residency, more of a school, “What tricks do you know?” and “What eternal truths have you in 1974. He teaches at the Rhode Island School of Design. or a combination of the two? discovered?” Perhaps I didn’t ask those questions because of the IP: Skowhegan more closely approaches what I would want out of distance created by formal studio visits. Jesus Benavente, 30, works in many media. He is currently working on an MFA at Rutgers University. Jesus Benavente: I always thought of Skowhegan as a residency. a school, in that the guidance is optional and the forward momentum I knew the word School was in the title, but it was usually just referred is self-disciplined and comes out of a respect, anxiety, enthusiasm, MW: I don’t know how the studio visit system could be changed. Ash Ferlito, 32, is a painter and multi-media artist who lives in Brooklyn. to as Skowhegan. and collaboration for everyone involved, not out of competition. It wasn’t a terrible system, but it sometimes felt arbitrary. I’d imagined She received an MFA from Tyler School of Art in 2011. Personally, I gather that each generation manages to defi ne a lot for in advance of going to Skowhegan that there would be formal critique Park McArthur, 28, makes text-based work and lives in NYC. She received an Ash Ferlito: I thought of it as a hybrid, perhaps retaining its moniker itself and that any charter is best left vague, as far as benefi ting the sessions and there weren’t. I feel like mandatory, but relaxed, group MFA from University of Miami in 2009 and attended the Whitney Independent from another time. I didn’t specifi cally think about the dynamic or participants goes. It may be a nice thing to review on behalf of the critiques would be a nice way to get to know other participants work Study Program 2010-2012. format of school versus residency, but got a clear sense from friends, faculty, who were seemingly confused about their role in relationship better. About faculty—my expectations were met. It was a good mix. Ian Page, 27, is a video, installation, sculpture, and performance artist. He received a acquaintances, and alumni with whom I’d spoken of the importance— to a quasi-autonomously developing momentum with well enough I think every participant would say they had someone they loved and BA in Cinema and Latin Literature from Oberlin in 2008. He lives in Los Angeles, CA. established thinkers. Overall, putting any more strictures or formal maybe above all other things—of the relationships I would have the someone that drove them nuts. And, I think that’s perfect. The studio Marisa Williamson, 27, works in video and other media. She is in her second year opportunity to make. aspects onto the experience is something I wouldn’t want. visits with the staff were also great. of the CalArts MFA program and lives in Los Angeles, CA.

5 6 Aleatoric Affi nities: The Present Classifi cation John Cage and Maria Elena González’s Skowhegan Birch # 1 Heather Hart, Steffani Jemison, and Jina Valentine by Marshall N. Price

When John Cage declared that “art is the imitation of nature in her has instead relinquished dominion of her hand and literally allowed manner of operation,” he was not only drawing on ideas articulated the trees to speak for themselves. While the piece remains a type by his predecessors in the fi eld of metaphysics such as the Indian of mimesis, however unconventional in this format, it shares with philosopher and art historian Ananda Coomaraswamy and the much of Cage’s works a clearly established conceptual framework. “What is impossible is not the propinquity medieval theologian and philosopher Thomas Aquinas, but he was of the things listed, but the very site on also attempting to illuminate an aspect of the process in which he Skowhegan Birch #1 is aleatory and its sounds vacillate between which their propinquity would be possible.” ostensibly removed his own hand from the creative process, allowing brief moments of silence and long, cascading polytonal phrases. But (Michel Foucault, The Order of Things) chance to determine any variety of one’s artistic choices. Cage cacophony and dissonance become paradoxical concepts here as a believed that anthropocentric art and music was trivial, and that chorus of voices, held for centuries within the trees of the forest, are beyond individuals, nature herself had an intrinsic expressivity found freed from their confi nes and fi nally speak out all at once. Liberated Heather Hart (A ’05), Steffani Jemison (A ’08), and Jina Valentine (A ’05) are planning a new tableau in elements such as trees, rocks, and water. It is with these ideas from the constraints of conventional elements of music such as for a collection not yet acquired. Entitled The Present Classifi cation, this project will assume the formats in mind that we can refl ect on Maria Elena González’s Skowhegan time and key signatures, Skowhegan Birch #1 is a symphony of of exhibition and live performance. Birch #1, 2012, a multi-disciplinary work in which birch bark forms the sensorial effl uence. The musical result is an uninhibited arrangement blueprint for player piano rolls, and ultimately the music produced by of collected sounds that sing with immediacy and abandon. Cage But what exactly is a collection? How to defi ne the parameters of a fi nite set? Do we defi ne the the rolls themselves. believed that music could sober and quiet the mind, making it characteristics of the collection in advance of its actual acquisition, then accept only those objects that susceptible to divine infl uences and thus open to the fl uency of things qualify? Or do we determine the character of the collection by afterwards assessing the unifying traits of The genesis of Skowhegan Birch #1 came from the Cagean notion that come through our senses. Art, he believed, could help us achieve things amassed? The foundational principles we have established for The Present Classifi cation refl ect of allowing artistic choices to manifest by simply deciding which this state. In the end, it is easy to imagine that, having listened to our collective interests. The intersection of two independent projects, and three individual “collectors” set questions to ask, and was born in a moment of synesthetic curiosity Skowhegan Birch #1, John Cage would have likely smiled impishly the parameters for the proposed collection. These principles also frame a specifi c discussion that we, in which González wondered how we might better understand and delighted in the sound of nature’s emancipated music. the proposed “collectors,” have the agency to defi ne. The collection will comprise in various formats the the information held within the architecture of the natural world. sum of: a. text art b. submissions from Black artists c. submissions from Skowhegan alumni. Could this biological matrix, built on the collective history of evolution and nature’s forward march of time, be translated into a To further prescribe the parameters of The Present Classifi cation is to imagine the character of the musical vocabulary, and if so, what would that music sound like? would-be collection in advance of its actual acquisition. On one hand, predetermination risks precluding In many ways, Skowhegan Birch #1 unlocks this history and gives the chance serendipitous submission. On the other hand, leaving the structure entirely fl exible surrenders Skowhegan Birch #1, 2012, by Maria Elena González (Skowhegan Governor and F ’05) is a sonorous voice and an audible consciousness to the rural Maine included in the exhibition Against the Grain: Wood in Contemporary Art, Craft, and Design, much of the impulse for creating a collection to the collective character of the objects themselves. We landscape. González has long been engaged with memory and currently on view at the Mint Museum, Charlotte, NC (through January 27, 2013) and travelling to the Museum of Arts and Design, New York (March–June 2013). suspect that undertaking this project will require a bit of both methods: fi rst drafting a wish list (of letter architecture in her work, and here instead of creating a socio- and of litter, of color and spatter, of spit and spam, of concepts and collapse) then negotiating the results. political iconographic program used by the artist in the form of her Marshall N. Price is the Curator of Modern and Contemporary Art at the National Academy Museum, New York. His current exhibition, John Cage: The Sight of Silence, recognizable maps, fl oor plans, carpets, and sculptural towers, she is on view through January 13, 2013. The collection would consist of text-based contributions from Black Skowhegan alumni. It might be composed of rather diverse forms of text-art and text-artifact—like paintings and prints, diary and sketchbook notes, t-shirts and buttons, playbills and receipts. Via the new tableau, these seemingly incongruous items—a cross section of sentimental detritus and fi ne art work—can be provisionally, if temporarily, linked through the identity of its producers and the connections made through the objects themselves.

How do we set about attaining these objects? Do we present an open call to all Black, living alumni of Skowhegan to submit text-based works and objects? The success of such a query would depend on potential group constituents identifying themselves as such and mobilizing towards a collective identity. As with drafting parameters for the collection of objects, the alternative method for casting The Present Classifi cation (the corpus) would be to individually solicit potential members.

The paradoxical relationship between the collection and its constituents (and between the collective and its constituents) has been exhaustively explored, recently by such diverse scholars as literary theorist Susan Stewart and political philosopher Giorgio Agamben. One of the most compelling discussions Maria Elena Gonzaléz, Skowhegan Birch #1, 2012, still from single channel video. The left screen shows the player piano roll made from the pattern on Birchbark found at Skowhegan. appears in the Deleuze and Guattari opus A Thousand Plateaus, wherein the formula N–1 is used to The right shows Randolph Herr playing the composition.

7 8 bookstore owners b. thespians c. those questioning the meaning of “of color” d. perennial students and teachers e. ones that from a long way off look like fl ies f. included in the present classifi cation.

Neither the Black Lunch Table nor Future Plan and Program intend to create new parameters for classifi cation; as with The Present Classifi cation, we work exclusively within frameworks already existent. These projects simply serve as tableau upon which to make these social divisions visible: a. artists “of color” b. those embraced as radical-chic c. the marginal d. relevant to the larger art-historical narrative e. outsiders f. included in the present classifi cation.

In Jorge Luis Borges’ description of the “Celestial Emporium of Benevolent Knowledge,” in Book of Imaginary Beings, he explains that animals are divided into the following categories:

(a) belonging to the Emperor (b) embalmed (c) tame (d) suckling pigs (e) sirens (f) fabulous (g) stray dogs (h) included in the present classifi cation (i) frenzied (j) innumerable (k) drawn with a very fi ne camelhair brush The original Black Lunch Table discussion at Skowhegan in 2005. (l) et cetera (m) having just broken the water pitcher (n) that from a long way off look like fl ies. evoke the individual’s power to escape the collective that contains review d. those whose work explicitly addressed issues of race e. it: “The only way the one belongs to the multiple: always subtracted.” self-identifying as post-Black f. included in the present classifi cation. Ideally classifying systems derive from the unique interdependence Here, N represents the whole, and 1 is a part dependent on the larger of objects within a specifi c collection, which constitute its overall collection for its identity. The collection subsumes the singular object In 2010 Steffani Jemison organized Future Plan and Program character. Accordingly, the classifi cation of stuff within any specifi c into its totality; as a result, the object’s material history is suspended (FPP), a provisional publishing project featuring newly commissioned collection will be singular and inapplicable to any other collection. as the object is placed into a greater, atemporal narrative. Within the literary works by visual artists of color. FPP has published texts by In “Preface” to The Order of Things, Michel Foucault wonders at the collection, all things accumulated are reclassifi ed by their association Skowhegan alumni including Jemison, Valentine, and Jamal Cyrus physical impossibility of a meeting ground for all these classifi ed to one another, providing a view of the forest despite the trees. (A ’10). Like Valentine and Hart’s Black Lunch Table, FPP, as a creatures and marvels that perhaps such a space exists only within curatorial initiative, possesses a clear set of overlapping objectives: a space created by language. Within the space of narrative, list, or In 2005 Heather Hart and Jina Valentine organized a performance fi rst, to create a new publication and presentation opportunities for fantastical description, the dis/similar fi nd common ground and event entitled The Black Lunch Table—a precedent for The Present artists of color; and second, to provide a context for conversation therein fi nd their commonality. In fact, such a locus exists within this Classifi cation. The impetus for this event was their wonderment about orality and literacy, writing and transcribing, poetics and very text, wherein the concepts uniting disparate elements form a A Future Plan and Program publication. Cover Design: Nikki Pressley. over the lack of any such table at Skowhegan’s daily group lunches. performance, that is informed by the authors’ experiences as structure, a meeting ground for their coexistence. Photograph: Adebukola Bodunrin. Together they decided whom they should invite to sit with them for artists of color. These authors share a number of characteristics: one particular afternoon lunch. In curating the group of participants, each maintains an active visual arts practice, each is a person The meeting ground can occupy a physical as well as discursive Hart and Valentine did some guess-work, inviting as well those of color, and each is connected to a larger network of artists of space. The fi rst step in creating The Present Classifi cation is artists they thought might identify as Black. Those invited included which Jemison is also a member. The authors all address issues both. We, “the collectors” propose a one-afternoon reenactment other residents of African descent, the then director and dean, of race, autobiography, and “otherness” with varying degrees of of The Black Lunch Table, during which participants would eat, and several visiting artists. At the table, they discussed issues of conspicuousness. Moreover, similarities in style, humor, and tone, discuss, and restage, in an expanded format, the 2005 event. being Black in the art world, issues of otherness in general, their as well as overlaps in subject matter and external references, connect Thereafter, the participants would be charged with the task of individual relationships with actual and metaphorical Black lunch their work. As a result of their involvement with FPP, the authors divining a common narrative out of the objects collected through tables in grade school and higher education… and of course the frequently have the opportunity to perform, read, and exhibit together, submissions (including their own objects). Rather than curating irony of having these discussions at an invitation only all-Black further strengthening their creative ties and mutual infl uence. Finally, the exhibition on the basis of an artistic statement or determining lunch table. The hyper-classifi cation, by way of self-segregation, of the authors share a conviction that writing non-fi ction as a form of theoretical missive, The Present Classifi cation seeks to let the works Heather Hart, 37, makes installations that you should touch. She attended Skowhegan in 2005 and received her MFA from Rutgers in 2008. She lives and works in Brooklyn. Skowhegan’s Black residents functioned to both create a forum for art and cultural theory challenges the perceived roles of practicing self-order within the rather broad grouping of “text art by Black topics discussed informally at other occasions, and highlight the fact visual artists. As a precedent for The Present Classifi cation, FPP alumni of Skowhegan.” Of course, this process of ordering and Steffani Jemison, 31, works in many media. She is a 2012-2013 artist-in-residence at the Studio Museum in Harlem. that no such grouping of like-skinned people had naturally occurred likewise creates a tableau upon which seemingly disparate works contextualizing texts will be a critical part of the success of the thus far. Within that group of people, subsets included a. those not and artistic pursuits might be considered as interdependent parts of a overall exhibition, and that those able to attend the Lunch Table Jina Valentine, 32, works with text and collage. She attended Skowhegan in 2005, received her MFA from Stanford University in 2009, and currently teaches at actually of African descent b. vegetarians c. those pending graduate common narrative. FPP’s corpus is composed of a. former and future will be charged with scripting a new narrative. UNC Chapel Hill.

9 10 The Path and the Flash Exhibitions from the Archives A Conversation with Paul Pfeiffer A living history

It might seem like a needlessly circuitous route I always enjoy how precisely edited In 2010, Skowhegan began researching more On Sep 11, 2012, at 12:18 PM, Sarah Workneh wrote: to get to the point but I’m retracing my own your work is—there’s a real economy than 200 artworks in our archive. Encompassing Dear John, mental steps, connecting the dots between of moves, which somehow seems the entirety of our history, the archive is a survey observations leading to an insight or question. counter-intuitive to this accumulation of American art — its trends, concerns, materials, I am one of the co-Directors at the Skowhegan School of Painting & Sculpture. I came to I guess this reveals something about my and to the acceptance of accidents. movements, and techniques. In summer 2012, Skowhegan in 2010 and in my time there, we have spent considerable time going through approach to the creative process. The fi rst How do you decide how much Skowhegan opened two exhibitions, one on the artworks on campus in Maine. We have identifi ed a really beautiful painting of the old campus and one in downtown Skowhegan, step is about gathering information. I enjoy the information to give the viewer? Fresco Barn that you made while on campus in 1957. Over the summer, while the program advertised by the poster pictured below, and process of gathering. I think I can be a good was in session, we curated a small show of works in the collection to show in the town of featuring a painting of Skowhegan’s original Skowhegan, as a way to demystify what we do on campus and to link our history to the area. listener or reader. To me it’s an exercise in It’s a process of condensing things down barn by John Udvardy (A ’57), completed when focused attention. In the process of listening to what’s essential. Ultimately the piece has he was a participant. What follows is an email We made the attached poster for the event, featuring your work. While the initial poster was or reading or looking, mental images begin to to be convincing enough to stimulate the exchange between John and Sarah Workneh used in town over the course of 2 days, we would now like to use an image of the poster in form in my head. I associate the moment of viewer’s interest. You can’t force a relationship that illustrates the importance of the archive our upcoming newsletter (4,100 copies). Before we print on such a large scale I wanted insight with visual thinking because fl ashes of to develop. In the end the viewer has to want as a living history that both captures a moment to check with you to see if that is okay with you. It is such a remarkable piece, and a really inspiration come to me in the form of mental to meet the work half way. When a work is in time, and has far reaching connections amazing representation of such an important historical space on campus. and a life beyond its moment. images. I don’t mean to say that that’s all there successful, I’ve created enough visual context This summer I pulled the painting out of the racks to show two curators from the Colby is to the creative process. Just that it starts to help viewers fi nd their own way into it, College Museum of Art. Because it is so large and delicate, I didn’t want to put it back without there. The more diffi cult part is often fi nding a and when it isn’t, maybe I’ve suppressed too help, so I left it leaning against the racks in the archive. The next day, I was touring Arlene way to give physical form to the mental image. much, or maybe given away too much. Shechet, who had just arrived as a Visiting Faculty member, around campus. She stopped to look more closely at your piece which was still out from the day before, and was so excited and a little in shock that it was yours! Completely unexpected, and from what I understand You have been travelling since 2010. I remember at Skowhegan you barely you two had lost touch until fairly recently when you wrote a letter to her. Synchronicity! Were you working towards some spoke during your lecture, you just Let me know what you think... and thank you! specifi c works? showed images. But then you answered a lot of questions after. That reminds Sincerely, I was between the Philippines, Berlin, Hawaii, me of the conversation we had the Sarah Workneh where my mother lives, and New York. In the other day with Walead Beshty regarding Philippines, I was working on a project inspired the benefi t print project you’re working On Sep 11, 2012, at 4:45 PM, John Udvardy wrote: by a 1974 video by Richard Serra and Nancy on for Skowhegan. Dear Sarah Workneh, Holt titled Boomerang. Similar to Live from Neverland and The Saints, I worked with a We were discussing how there’s more to an What a wonderful surprise for me when I opened your letter! As soon as I saw even a small group of people in the Philippines—this time object than its physical attributes. Objects portion of this work — I said to myself OMG that looks exactly like something I might have done! employees from call centers—to re-enact can also be symbols of exchange. A benefi t When I saw my name on it, the deja vu and the wonderful sweet memories of it all came Boomerang as a chorus, the echo effect print edition, for example, is meant to function fl ooding back in on me! Believe it or not, but I can almost remember every brush stoke that coming from their overlapping voices. Travel as art object—that’s one kind of exchange— I made on that piece and recall the wonderful smells and air of that barn. What great times is part of the accumulation of information that and it also has a particular role to play in and memories I have of my mind opening experiences and training I encountered during that somehow fi lters into the work, which is taking bringing a group of funders together to raise precious summer time at Skowhegan. Sarah Workneh sat down with Paul for a place simultaneously even though I might not money. That’s another kind of exchange. In Sarah you need not even ask — Of course you may use the work however you wish. quick chat, a kebab, and an unexpected know where it will wind up. It, of course, involves a way it’s meant to function pragmatically, I am touched and deeply honored that you wish to extend its life further in this important exploding bottle of water. my own personal relationship to the Philippines, like a handshake. It’s an agreement of way, and thank you! and my mother who is a choir director. support between the artist, the buyer, and Poster designed by Nataliya Slinko announcing one of If you could be so kind, I would greatly appreciate it if you could please send me a couple of During your Summer as faculty the benefi ciary of the money raised. Walead two exhibitions of works from the Skowhegan Archives the posters which you had made, and I am on your mailing list. But a few extra Newsletters at Skowhegan I noticed you had suggested creating a benefi t print that literalized & featuring the work of John Udvardy. would be appreciated! Thank you. a particular way of asking questions Are you letting the ideas behind the the handshake in material form: a cast of the at lectures—you seemed to start work and the research dictate how the space between two hands in a handshake. If you see Arlene Shechet again please give her my love and best wishes and congratulations someplace very far from the point, piece ultimately is realized? Are you on being there. She is the best! In an interesting way, with Arlene being there it almost going down this winding path of okay with the accidents that happen completes another circle for me. seemingly unrelated build up, when things aren’t totally planned out? So what are you making? Thank you very much Sarah, I cannot tell you how thrilled I am. and then fi nally — the question and With warm regards, the entire track becomes clear The Boomerang piece has been a long process I am still thinking about it. All of the John Udvardy and seems absolutely necessary. and quite diffi cult to orchestrate. In the end stuff we talked about will inform what it Do you think this is representative it may exist only as a sound piece, no video, is—but again, the fl ash comes fi rst. of your process of making as well? no installation. I think the “accidents” help to defi ne the fi nal form.

11 12 Down the Rabbit Hole Oral History Project Katie Sonnenborn “Skowhegan is a Xanadu, or I can’t say exactly when or how Skowhegan secured itself in my mind as a Shangri-la in a way, in my principal force in the art world. Over many years studying art history and then consciousness.” working at Dia Art Foundation, I came to understand Skowhegan as a place where —Bill King new art practices emerged, relationships were forged, and artists experienced something entirely unique and important that in turn had a profound impact on the In 2010, Skowhegan began an oral history project that trajectories of contemporary artmaking. I sensed that time spent at Skowhegan would document and shed light on key moments in had an over-sized impact on those who attended, and—though I am not an our 66-year history, as well as complement the Lecture 01 02 03 artist—had an intuition that I wanted, and would fi nd, a relationship to the School. Archive that now features talks by over 600 faculty artists, dating to 1952. Through in-depth interviews For those reasons and more, I was immediately intrigued when approached with instrumental members of the community, oral about the prospect of becoming one of Skowhegan’s Directors. Coming from historian Liza Zapol is capturing critical reminiscences Dia, a philosophically resonant and similarly mythic institution that works with a and anecdotes ranging from Skowhegan’s genesis few artists in-depth, I was tantalized by the prospect of supporting the diversity and nascent years, to its infl uence in, and relationships of artists who are part of Skowhegan’s expansive community. Moreover, with, the broader art world. Beginning in summer Skowhegan’s structural complexity—dual Directors, dual boards, a Maine 2013, Oral Histories will be accessible on campus program, a New York offi ce—was clearly not a simple route, but from the outside alongside the Lecture Archive. suggested a fundamental commitment to structuring the organization in a way that Initial support for this project has been generously provided 04 05 06 would best ensure its continued success: a plurality of voices, experiences, and by the H. King and Jean Cummings Charitable Trust of the contexts would necessarily inform its future. Maine Community Foundation. 01 Former Governor, Bill King, interviewed One suspects a job will be a good fi t when ideas start fl owing during preliminary September 14, 2011, East Hampton, NY discussions, and as Sarah and I began to quietly brainstorm, I found myself 02 Artist Barbara Sussman, interviewed spiraling down the rabbit hole before I’d even begun. Little did I know the truly November 10, 2011, Hoosick Falls, NY complex universe I was entering into. The last seven months have been inspiring, 03 Founding family member Muriel Palmer, interviewed November 11, 2011, chaotic, challenging, and fun. I inherited a multi-year strategic and organizational North Bennington, VT plan that proved an invaluable opportunity for deep refl ection and study of virtually 04 Fresco Instructor Sidney Hurwitz, every aspect of the institution, as well as an indispensible introduction to the interviewed November 14, 2011, Boston, MA 07 08 09 abilities and ambitions of Skowhegan’s staff, boards, and alumni. 05 Artist Penelope Jencks, interviewed November 14, 2011, Newton, MA Several major archival initiatives are underway, and this summer I immersed myself 06 Former Governor Lois Dodd, in Skowhegan’s history. The physicality of the campus experience and the legacy interviewed December 1, 2011, New York City of those who have spent time in Maine is everywhere in this organization, and yet 07 Former Trustee and Governor, Alex Katz, interviewed December 8, 2011, New York City each summer is new and each group redefi nes what Skowhegan “is.” Our Oral 08 Trustee Mildred Brinn, interviewed History project demonstrates that a dynamic tension of past-present-future has December 9, 2011, New York City always been at play in Skowhegan; so too do the artworks that have accumulated 09 Governor Daphne Cummings, over nearly seven decades that we are beginning to catalogue, study, and interviewed January 23, 2012, New York City share. I am eager to see how these projects unfold, and how they help locate 10 Former Trustee and Governor David Driskell, 10 11 12 Skowhegan’s story within the larger history of post-war and contemporary art. interviewed February 9, 2012, Hyattsville, MD 11 Former Governor Brice Marden, Time on campus secured my conviction that Skowhegan’s unique governance interviewed April 17, 2012, New York City structure enables it to identify and support some of the great artists of our time — 12 Former Director Barbara Lapcek, interviewed May 17, 2012, New York City international, intergenerational, innovative, enthusiastic. Time off-campus confi rms my suspicion that Skowhegan’s tentacles reach much further than a nine-week 13 Trustee Warren Cook, interviewed July 22, 2012, Skowhegan, ME program would suggest, and that the conversations, events, installations, and 14 Artist Abby Shahn, interviewed publications created between September and May serve a vital purpose in July 23, 2012, Solon, ME contemporary art and culture. I appreciate the generous and warm welcome that 15 Artist Ashley Bryan, interviewed this community has given me, and look forward to continuing to work together. July 25, 2012, Little Cranberry Island, ME 13 14 15

13 14 39 Art School Road

Skowhegan: In 7 Words Less Than Allotted Sarah Workneh

I seem to dread writing my portion of the newsletter. Once again, it’s the fi nal moments before deadline, and I never quite know what to say. I just received Dear Skowhegan letter from a 2012 participant. He described the attempt at writing about his experience as wordless. Perhaps my procrastination of this task comes from the fact that, in many ways, I feel the same.

Transformative is a somewhat overused word to describe it… and it doesn’t quite do the experience justice—there’s no depth to understanding exactly what that means. We talk about “drinking the kool-aid,” being converts—my favorite joke is “Skowhegan: putting the cult in culture.” It seems impossible to convey to people who haven’t been there, or even those who have, what makes each summer so distinctive and so incredibly moving. Certain elements are always the same, but it is an experience that is so intensely personal that wordless is the only true term one can use to vocalize the experience to another’s ears.

This journal is an attempt to share some things that we thought about, did, failed at, and engaged with this summer, and in what has turned out to be a remarkable year. John Udvardy’s touching email in the context of the Oral History; all of the ephemera left behind by the outstanding, inspiring, mind-boggling, hilarious class of 2012; Dike’s conversation, and The Present Classifi cation are all true demonstrations of the strength of what Skowhegan is. Never content to rest on or reify its history or accomplishment, Skowhegan is not static—it’s an inquiry—one that asks questions of itself, its history, its functionality, its place in the world, and most important, how it can retain its “Skowheganness” and yet always be moving. As Dike points out—it changes every day, and yet, as we can see in these pages, it retains its root.

Over the past year, Skowhegan, as an organization, has been engaged in a process of self-refl ection, evaluation, and the re-articulation of its core values—embarking on the same quest our participants undertake in the studio each summer. Celebrating where we succeed is amazing, but investigating the areas where we can grow is incredibly exciting. Promoting discourse is a fundamental principle of Skowhegan, and it is one that we, as a community of 3,000 individuals—a staff, boards, a history, and as artists need to engage with in order to ensure new ideas, new engagements, and new dialogues. It is not criticism, it is criticality—and it is what pushes us to question our roles in the world and to be the best versions of ourselves both individually and organizationally. It is what makes the future, in artmaking and beyond.

I am more than pleased and proud to thank the faculty, staff, and participants for everything they did this summer, and all that they will continue to do. I told them at convocation this year that I am a better person for having shared the summer with them. It wasn’t perfect—it was tough at moments, exhausting, frustrating—occasionally it made me question a lot about myself and about the mechanics of the operation, but it’s that full spectrum of emotion that shows that Skowhegan offers something singular.

It is all of this combined, 553 words, my attempt to give words, images… texture to the wordless.

15 16 01 02 08 09

04 05 10 11 12

03 06 07 13 14

ON CAMPUS: 01 Newly installed studio visit schedule boards 02 L–R: Ian Page, Amy Flaherty, Matt Taber, Ander Mikalson, Monica Cook, Samara Tompsett, in Lake Wesserunsett 10 Collaborative team Chaja Hertog & Nir Nadler at work in their studio 11 Ceaphas Stubbs in studio 12 Shirah Neumann and Becky Matt Ager, Ash Ferlito 03 John Walter in studio 04 Felipe Castelblanco Olaya and Jody Wood, collaborative performance 05 Clare Torino in Fresco Studio Sellinger during Becky’s performance in the newly inaugurated Bermant Lab 13 Kresge Studio 14 Em Rooney, Justin Plakas, and Lex Brown at Justin and 06 Michael Taylor in Korakrit Arunanondchai’s studio 07 Fourth of July Parade 08 Jessica Kain at the L.C. Bates Museum 09 Amy Flaherty, performance Lex’s performance Business is Booming

17 18 Original drawing by Sarah Hotchkiss ’10 Box Set

Organized by participant Becky Sellinger, the 2012 Box Set is both a time capsule and an exercise in generosity. 65 contributors (participants, faculty, and staff) each produced 2012 Faculty an edition of 10 items to be contributed. The works were then divided into Resident discreet collections of 8 Faculty Artists items, catalogued, and gifted to 84 members of Dike Blair the class, staff, and faculty Nancy G. MacGrath at convocation. Each Endowed Chair item is a refl ection of the individual who made it, and Rochelle Feinstein each collection a distinct Frances & Sydney Lewis portrait of the summer. Endowed Chair Kate Gilmore John Eastman Jr. Endowed Chair

Virgil Marti Mildred C. Brinn Endowed Chair

Cauleen Smith John Whitney Payson Endowed Chair

Visiting Faculty Artists

Huma Bhabha Willard Warren Cummings Endowed Chair

Peter Campus Omer Fast Louise Fishman Sally & Milton Avery Endowed Chair

Deborah Hay Paul Mellon Distinguished Fellow

Arlene Shechet

Eleanor Aldrich Misha Capecchi Chris Domenick Anna So Young Han Carl Marin Shirah Neumann Amy Ruhl Michael K. Taylor Marisa Williamson 2012 Sarah Anderson Felipe Castelblanco Olaya Jean-Jacques du Plessis Amber Hawk Swanson Nicolas Mastracchio Ian Page Naomi Safran-Hon Miryana Todorova Bennett Wine Christopher Aque Domingo Castillo Don Edler Chaja Hertog Park McArthur Jack Pavlik Becky Sellinger Clare Torina Jody Wood Participants Korakrit Arunanondchai Barnett Cohen Ash Ferlito Jessica Kain J.J. McCracken Gabriel Pionkowski Barb Smith Cristina Tufi no-Palmer John Zappas Taylor Baldwin Monica Cook Amy Flaherty Emre Kocagil Ander Mikalson Justin Plakas James Southard Quynh Vantu Meredith Zielke Itziar Barrio Danielle Dean Kevin Frances Wok Marcia Kure George Monteleone Ida Roden Ambrose Stevens Mary Vettise Jesus Benavente Leah Dixon Dan Gunn Christopher Manzione Ilse Murdock Em Rooney Ceaphas Stubbs John Walter Lex Brown Alejandro Guzman Nir Nadler Matthew Taber

21 22 Deborah Buck, The Garrison Bellevue Arts Museum, Alumni News Art Center, Garrison, NY. Bellevue, WA; New Mexico Enchants, Hilltop Art Gallery, OFF-CAMPUS PROGRAMS 1977 Ashland, OR; Annual UFO Anita Curtis Glesta Art Show, Roswell Fine Exhibitions GERNIKA/GUERNICA, Arts Gallery, Roswell, NM. Skowhegan’s off-campus programs are collaborative in nature Museum of Contemporary and experimental in character. They delve deeply into topics that Art Krakow, Krakow, Tabitha Vevers A selection of news and images from our publicly accessible online Artist Registry which Poland; PUTTI FOR SARA, LOVER’S EYE II: The Gaze of inform contemporary artmaking and build community between features pages by alumni and past faculty. The following exhibitions occur between Big Screen Plaza, New Desire, Albert Merola Gallery, participants and faculty of all years — as well as a broader group of November 1, 2011 and October 31, 2012. York, NY; PUTTI FOR Provincetown, MA; GOLD, artists, curators, writers, collectors, and enthusiasts. Our alumni SARA, Galeria Praxis, Belvedere Museum, Vienna, group, the Alliance, working with Sarah Workneh, Co-Director, Buenos Aires, Argentina. Austria; Kinsey Institute Juried Show, Grunwald creatively nurtures the experience begun on campus into the 1948/1954 of New England, Campus 1972 N. Christina Hutchings Gallery of Art, Bloomington, vibrant mobile community that is Skowhegan. The following took Charles Cajori Center, Biddeford, Maine; Philip Ayers Biennial Exhibition of IN; Tides of Provincetown, place between fall 2011 and fall 2012. The Space Between, Behnke Members Exhibit, Towson Philip Ayers: History in Contemporary Bermuda Wichita Art Museum, Wichita, Doherty Gallery, Washington Arts Collective, Towson, MD; Nature, The Painting Art, Bermuda National KS; (S) M, L Suitcase Show, Depot, CT; Four Decades, The Big Show, The Creative Center, New York, NY. Gallery, Hamilton, Bermuda. Inez Suen Art & Design David Findlay Jr. Gallery, Alliance at The Patterson, Consulting, International New York, NY. Baltimore, MD; Spirit of Joan Branca Charles Marburg traveling show, Asia; Paper Place and its Transitions, The Landscape 2012, Gallery Violet Baxter and Charles Trail, Clark Gallery, Lincoln, 1949 Great Pond on Biddeford North, Setauket, NY; Marburg, Jeffrey Leder MA; Passions of the David Black Pool Maine, Gormley Gal- Landscape Exhibition, Gallery, Long Island City, NY. Soul, Trustman Art Gallery, LIFTOFF, Public Sculpture lery, Notre Dame Maryland Islesford Artists Gallery, Simmons College, Boston, MA. Dedication, Washington DC. University, Baltimore, MD; Islesford, NY. Lindsay Walt Members Show, Riverview What I Know (curated by 1980 1956/1957 Gallery, Havre de Grace, MD. Gary J. Jameson Jason Andrews), NYCAMS, Melanie Kozol Penelope Jencks Chesapeake Skyscapes New York, NY; Six Artists Still - Paintings 1992- Bronze & Steel Reformed Lorna Ritz (paintings), Calvert County from New York, The George 2010, Flatiron, Red Hook, (group show), Berta Walker U.S. Dept. of State Art Library, Prince Frederick, MD. Gallery, Laguna Beach, CA. NY; Damsels in Distress, Gallery, Provincetown, MA. in Embassies Program, Damsels in Distress by Whit American Embassy in 1973 1978 Stillman, New York, NY; A 1961 Caracus, Venezuela. Frank Hyder Peter Dudek Lush Life, Teatown Lake Ditta Baron Hoeber Pises, Medecci Gallery, Peter Dudek & Peter Soriano, Reservation, Ossining, NY. 35mm, Photographs from 1969 Caracas, Venezuela; Twenty Ventana 244, Brooklyn, NY. the Collection, Philadelphia Marilyn Propp Years, Butters Gallery, Ditta Baron Hoeber ’61, Still / Not Still, 2012, archival inkjet prints, 1981 Museum of Art, Philadelphia, Marilyn Propp and David Portland, OR; Landscapes 5.625" x 14.75" Carol Perroni Kim T. Abraham PA; Transformations, Phila- Jones, Moreau Galleries, of New Jersey, Noyes Collage/Assemblage Group Show, Lee Hansley delphia Episcopal Cathedral, St. Mary’s College, Notre Museum, Ocean View, NJ; Centennial 1912-2012, Gallery, Raleigh, NC. Philadelphia, PA. Dame, IN; Industrial SeaFair, International Fine O’Connor Gallery, (solo painting exhibition), International Museum Reconstructions, LeRoy Art Expositions, Sarasota, Dominican University, The Wall Street Journal of Collage, Assemblage Candida Alvarez 1966 Neiman Gallery, Columbia FL; Commision, Oceania Chicago, IL; The Object Lobby Exhibition Space, and Construction, Green, Riverside Art Center/ David Reed University School of the Cruise Line, Genoa, Italy. Transcended, Tory Folliard New York, NY; The Plaid Pagosa Springs, CO; FreeArk Gallery, Riverside, IL. Meredith James (A ’11), Present Time (still), 2009, digital video, 9 minutes 15 seconds. David Reed - Heart of Glass, Arts, New York, NY. Gallery, Milwaukee, WI. Paintings, Rodale Press The Sketchbook Project, Kunstmuseum Bonn, Bonn, 1974 Building Lobby, Durst Brooklyn Art Library, Larry Deyab Germany; David Reed, Ga- 1970 Robert Flynt David Rich Exhibition Space, New Brooklyn, NY; Collect 10, THE AEROSOL EXPERIENCE, leria Marta Cervera, Madrid, David J. Einstein Naked Before the Camera, Urban Landscape (solo), York, NY; Abstract And Center For Contemporary Ziegler Zwei, Zurich, THE DOUBLE Spain; Stone Gravy (group David Einstein: New Works Metropolitan Museum of University of St Catherine, Concrete, Group Show, Arts, Santa Fe, NM; Annual Switzerland; Larry Deyab A one-night, bicoastal screening of video works by Skowhegan alumni show curated by David on Paper, Michael H. Lord Art, New York, NY; Off the St Paul, MN. Thompson/Giroux Gallery, Postcard Collage Show, SNIPER SCOPE, Ziegler Zwei, Pagel), Ameringer McEnery Gallery, Palm Springs, CA. Books: 3 Photographers, Chatham, NY; MIC Check, Yohe, New York, NY. Vermont Center for Colin H. Thomson Group Exhibition, Sideshow The Double is primarily a visual phenomenon making video a natural medium Susan Heideman Photography, Brattleboro, VT. Local Colour, Wexford Arts Gallery, Brooklyn, NY. for its exploration. The earliest silent fi lms recognized the inherent doubling 1968 Animalmineralvegetable, Centre, Wexford, Ireland. that occurs through picture, investigating notions of an uncanny second Christy Bergland Smith College Museum Michiko Itatani Helen Glazer self in fi lms such as the The Golem and The Cabinet of Dr. Caligari. Through The Late Seasons of Great of Art, Northampton, MA; CTRL-Home/Echo, Gerald Wolfe Arts in Embassies Program, Pond, Saco Museum, Saco, Proteanna, Danforth Printworks Gallery, Chicago, Structure, Kim Foster Gallery, US State Department, doubling or mirroring, one is confronted with the illusion of wholeness, a Maine; Wood Island Light- Museum, Framingham, MA. IL; Cosmic Commentaries, New York, NY; Abstract and Ambassador’s Residence, dispersion of the self, and perhaps revelations or repressions of fears and house Exhibition, University with Cullen Washington, Concrete, Thompson Giroux American Embassy, Lima, desires. The Double can also represent an alter ego, a copy or forgery, or Gallery, Chatham, NY. Peru; Digital 2011: The a Doppelganger. However, doubles are not exclusively physical in a bodily Alchemy of Change, New 1975 York Hall of Science, Queens, sense. Doubling may also be traced to the mode of production of a work, re- Dennis Aufi ery NY; Solo Show, Nailya minding us that the replication and dissemination of image is also physical in Paintings, Ayers Gallery, Alexander Gallery, New its duplication. This lack of the original and multiplication of the double across Court House Cultural Center York, NY; Centennial Juried the screen was exemplifi ed in the bicoastal screening of The Double at LAX- Galleries, Stuart, FL. Exhibition, Delaware Art Museum, Wilmington, DE. ART in Los Angeles and Cabinet in New York on Wednesday, May 9, 2012. Jeanette Fintz Jeanette Fintz at D.Jack Deborah Jones Buck Solomon, Selected Work What’s Inside… Paintings 1997-2012, Fox Gallery, New by Deborah Buck, Julie David Reed ’66, #617, 2003-2011, Oil and alkyd on linen, 44" x 190" York, NY; Andalusian Shards Saul Gallery, New York, NY; Kathryn Freeman ’81, Blues for Dogs, 2012, oil on linen, 36" x 48"

23 24 STRENGTH 1984 Disbelief, Von Lintel Gallery, Boulder Museum Frost Art Museum at IN NUMBERS Nancy M. Cohen New York, NY; Discursive of Contemporary Florida International By Feel, Accola Griefen Abstraction: Works on Art, Boulder, CO. University, Miami, FL. Gallery, New York, NY; paper from 1950 to the November 29 – Nancy Cohen: Precarious present, Bernard Jacobson Brent A. Crothers 1989 December 4, 2011 Exchange, Hunterdon Art Gallery, New York, NY; Structure as Language, Lee Boroson Museum, Clinton, NJ. PAPER BAND, Jason McCoy Montgomery College, Silver Lee Boroson: Lunar Bower, Gallery, New York, NY. Spring, MD; Sondheim Intersections Program A CONTINUOUS Wendy Klemperer Semi-Finalist Exhibition, at The Phillips Collection, IMPROVISATIONAL Sites for Sculpture, Dowling Bart Gulley Maryland Institute College Washington, DC. College, Oakdale, NY; Sculpture / Installation, of Art, Baltimore, MD; Baker PERFORMATIVE Re-Imagined: Sculpture by Martha Bone. Paintings Artist Awards Exhibition, Connie Hayes COLLABORATIVE Wendy Klemperer, College of / Collage, Bart Gulley, Baltimore Museum of Art, Abandon, Absorption and INSTALLATION BY the Atlantic, Bar Harbor, ME. Architecture for Art, Hillsdale, Baltimore, MD; Centennial Entrancement, Dowling NY; Bart Gulley: Painting and Juried Exhibition, Delaware Walsh Gallery, Rockland, ME. THE 2011 PARTICIPANTS Brett Reichman Collage, Gallery One, DHR Art Museum, Wilmington, DE. OF SKOWHEGAN Contemporary Painting International, Newark, NJ. Stephen Hendee 1960 to the Present, San Darrell Petit The Pinpoint Remains, SCHOOL OF PAINTING Brent Crothers ’88, “Synergy” / Francisco Museum of Jennifer K. Moses 5+5: New Perspectives, Clark County Government AND SCULPTURE, from Water Wars series, 2010, The Far-Flung Crew from L–R: Matthew Ager (UK), Shara Hughes (GA), Maggie Ogden (MA), Mike Calway-Fagen (CA), Modern Art, San Francisco, Roswell Paintings, Kingston 50th Anniversary Special Rotunda, Las Vegas, SCOPE MIAMI. used copper pipe & fi ttings, CA; All I Want is a Picture Gallery, Boston, MA. Exhibition, Storm King, NV; The Ice Next Time: Andrew Ross (NY), King Farish (VT), Siobhan Landry (CT), Ken Nurenberg (OH), Pascual Sisto (CA), Maya Hayuk (NY), 68" x 44" x 44" of You, Angles Gallery, Mountainville, NY. Textiles and Artifacts of Samantha Bittman (IL), Jules Jones (TX), Sarah Workneh (NY), Amy Brener (NY), Jaeeun Lee (NY), Clare Grill (NY), Los Angeles, CA. Duane Slick Dark Age North America Rafael Kelman (NY), Claire Zitzow (NY) and Nightmare City (CA). Counting Coup, Museum Ursula von (2026-2280ce), Grand Zurich, Switzerland; CHRIST Brenda Zlamany of Contemporary Native Rydingsvard Rapids Public Museum, PAINTINGS, The Henry Luce 888: Portraits in Taiwan, American Arts, Santa Fe, NM. Ursula von Rydingsvard: Grand Rapids, MI. III Center for the Arts and Museum of Contemporary Sculpture 1991-2009, Kris Scheifele Paul Santoleri Korean Art IN CONTEXT Religion, Washington, DC. Art, Taipei, Taiwan; Artist 1987 Tristin Lowe Morphed (group exhibition), Gallery Artists, Galerie (curated by Mario Diacono), Perspective, Peter Marcelle Gavin Flint Under the Infl uence, Janet Kurnatowski, Ligne13, Paris, France; Le Kang Collection Korean Kathryn Freeman Gallery, Bridgehampton, Gavin Flint, GK Gallery, Philadelphia Museum of Art, Brooklyn, NY; Pratt Alumni Virg de Noel, St Sulpice, Art, New York, NY. Blues for Dogs, Marin-Price NY; 888: Portraits in 6-7-16 Ginza, Tokyo, Japan. Philadelphia, PA; Mocha Painters, Pratt Manhattan Chapelle Peristile, Paris, Galleries, Bethesda, MD. Taiwan, Taipei Economic Dick, Virginia Museum of Gallery, New York, NY. France; Car Art, Id11, Warren Craghead and Culture Offi ce, New Margaret Libby Fine Arts, Richmond, MD; Delft, Holland; Installation/ seed toss, Arlington Art Margaret M. Lanzetta York, NY; Art Takes Time Celebrating Colby Women, Seeing is Knowing: The Jinnie Seo Exhibition, LeJour et Le Center, Arlington, VA. Reign Marks, Le Cube Square, New York, NY. Colby College Museum Universe, Weitz Center wave, Art at Asan Institute for Nuit, Paris, France. Independent Art Room of Art, Waterville, ME; for Creativity Carleton Policy Studies, Seoul, Korea. Angela Ellsworth Gallery, Rabat, Morocco; 1985 ARTworks, Common College, Northfi eld, MN. 1992 Seeing is Believing: Land Farthest West, Galerie Sarah Haviland Street Arts, Waterville, ME; Randy Wray Dawn Chandler Rebecca Campbell and de L’Institute Francais a Process: Sculptors Guild on Humanity in Nature, L.C. Patrick M. Neal Paper Band, Jason McCoy ODES & OFFERINGS, Angela Ellsworth, Phoenix Fes, Fes, Morocco; 7 Types Governors Island, Governors Bates Museum, Goodwill Patrick Neal and Fernando Gallery, New York, NY. Santa Fe Community Art Museum, Phoenix, AZ; of Terrain, Gallery Jardin Island, New York, NY; Head Hinckley, Hinckley, ME. Rangel, Paintings and Gallery, Santa Fe, NM. Angela Ellsworth: They des Biehns, Fes, Morocco; of School Sculpture Exhibit, Photographs, SBM Art Ryuhei Rex Yuasa May Appear Alone, in Mary Carter Taub ’95, Wallpaper, 2011, printed vinyl, 7' h x 24' w Utopia Minus Project, Dwight-Englewood School, Charles A. McGill Gallery, New York, NY. Rex Yuasa, Gallery KAZE, Shawne Major Lines, or in Clusters (solo Poetry Art Collaboration, Englewood, NJ; Modern TRAPPED, The Phatory, New Osaka, Japan. Recent Fetish (solo exhibition), exhibition), Lisa Sette Gallery, Gwarlingo Art Journal; Sculpture and the Romantic York, NY; The Westchester 1990 Paintings, One Post Street Marcia Wood Gallery, Atlanta, Scottsdale, AZ; Mysterious Richard Feaster Erika Ranee Place-Angle-Position, Heskin Landscape, Wilderstein Biennial, The Castle Gallery Lilian Garcia-Roig by Brian Gross Fine Art, GA; RAW, Homespace Content of Softness, Rollins Richard Feaster: New Die Like You Really Contemporary, New York, Historic Site, Rhinebeck, NY; at the College of New Nature X 3, Blue Spiral 1 San Francisco, CA. Gallery, New Orleans, LA; Fine Art Museum, Rollins Paintings, Zeitgeist Fine Mean It, Allegra LaViola NY; Permanent Collection, Sculpture On and Off the Rochelle, New Rochelle, NY. Gallery, Asheville, NC; Under On a Darkling Plain (solo College, Winter Park, FL; Art, Nashville, TN. Gallery, New York, NY. Nancy Margolis Gallery, New Wall, Art Exchange, White Saya Moriyasu ’93, Model for the Infl uence, McKinney 1991 exhibition), Chicago Cultural Controversy: The Power of York, NY; Super Saturated: Plains, NY; Curl at NYU 1988 the Universe (Mt. Meru), 2012, Avenue Contemporary Oliver Comerford Center, Chicago, IL; Today’s Art, Mornington Peninsula Jesse Lambert Cathy A. Sarkowsky Pigment & Pattern, Langone Medical Center, Teresa Booth Brown ceramic, glaze, wood and metal, (MAC), Dallas, TX; Cross Last, Douglas Hyde Visual Language: Southern Regional Gallery, Melbourne, panoramasfoldslosthorizons, Celebration (curator and Schweinfurth Memorial NYU Langone Medical Teresa Booth Brown: A 46" x 42" x 28" Currents, Grace Museum, Gallery, Dublin, Ireland. Abstraction, A Fresh Look, Australia; Bending the Mirror, Big & Small/Casual exhibiting Artist), Washington Art Center, Auburn, NY. Center, New York, NY. Unifi ed (Edible) Scheme, Abilene, TX; Solid Fluidity Mobile Museum of Art, Canzani Gallery, Columbus Gallery, Long Island City, State Convention Center, (solo show), Valley House Patricia Cronin Mobile, AL; Rhyme and College of Art and Design, NY; CLOUD NINE, Front Seattle, WA; Elvistravaganza, 1982 Jerry Smith Gallery, Dallas, TX; Medios y Patricia Cronin: All Is Reason: The Art of Shawne Columbus, OH; Beasts Room Gallery, Brooklyn, Bumbershoot/Seattle Paul C. Smith Flight, Sylvia White Gallery, Ambientes, Chopo Museum, Not Lost, Newcomb Art Major, Hilliard Museum of of Revelation, DC Moore NY; Refuge, Ningyo Center, Seattle, WA. The Brucennial 2012, Bruce Ventura, CA; New Texas Mexico City, Mexico; En Gallery, Tulane University, Art, Lafayette, LA; Luxuriant Gallery, New York, NY; Editions, Watertown, MA. High Quality Foundation and Talent, Craighead Green Plein-Site (solo show), Polk New Orleans, LA; Patricia Refuse, Pearl Fincher Narratives of the Perverse III, 1994 Vito Schnabel, New York, NY. Gallery, Dallas, TX; 49th Museum, Lakeland, FL; Cronin, Arthur Roger Museum, Spring, TX. Jancar Gallery, Los Angeles, Saya Moriyasu Angel Chen Annual Juried Exhibition, Revelations: Women’s Gallery, New Orleans, LA. CA; Refresh, Lisa Sette Eastern Traditions / Western Splendor in the Grass, 1983 Masur Museum, Monroe, LA. Art from the Permanent Charlotte Schulz Gallery, Scottsdale, AZ; All Expression, Boise Art Bulgari Rodeo Flagship Kitty Alward Collection, Art Museum Elizabeth Hazan Shift and Flow, Dorsky Things Become Wild & Free, Museum, Boise, ID; Folly, Store, Beverly Hills, CA; 89th Annual Spring 1986 of South Texas, Corpus Summer Snacks, Janet Gallery, Long Island HF Johnson Gallery of Art at G. Gibson Gallery, Seattle, Return to the Shadowlands, Show, Erie Art Museum, Tom Burckhardt Christi, TX; From Nature Kurnatowski Gallery, City, NY; Contemplations Carthage College, Kenosha, WA; Verdant, SOIL Gallery, Here is Elsewhere Gallery, Erie, PA; 76th National Tom Burckhardt- New (solo show), Thomas Deans Brooklyn, NY. and Conjectures: 12 WI; Auto/Pathologies Seattle, WA; Tulipiere: The Los Angeles, CA. Midyear Show, The Butler Paintings, Tibor De Nagy Fine Art, Atlanta, GA; Trees, Artists, Skidmore College, (with Tina Takemoto), Tulip Vase Revisited, Museum Institute of American Gallery, New York, NY. Swan Coach House Gallery, Kathryn Lynch Saratoga Springs, NY. Oboro Gallery, Montreal, of Northwest Art, La 1995 Art, Youngstown, OH. Atlanta, GA; Featured Artist Hudson River Tugs, Tayloe Canada; Paying Attention: Conner, WA; Folly (American Mary Carter Taub Yvonne Estrada (Valley House Gallery), Piggott Gallery, Jackson, WY. 1993 Choreographing Image, Spring), tulipiere vase for Wallpaper, Public Artwork, Yvonne Estrada - Blue, Dallas Art Fair, Dallas, TX. Sohyun Bae Action, and Task, Hyde Park Museum of NW Art Exhibit, Raleigh, NC; Los Arbolitos Von Lintel Gallery, New Angela Ellsworth ’93, Untitled 1 (Still from performance “Stand Back”), Subliminal Icons: SoHyun Art Center, Chicago, IL. Artist Trust, Seattle, WA. (public artwork), El Centro York, NY; Suspended 2011, archival pigment print, 29.75" x 51.75" Bae and Traditional Hispano, Carrboro, NC;

25 26 Three-way Adapter, N.C. Art, Southern Oregon Annette Lawrence Marjan Laaper Renay Egami of Art and Design, New Seriality: Photographs from Museum of Art, Raleigh, University, Ashland, OR. Coin Toss (site specifi c Winterlicht, Public Art Piecework, Kelowna York, NY; More Real? Art the Permanent Collection, NC; PODstallation (public installation), Dallas Cowboys Commission, Schiedam, The International Airport, in the Age of Truthiness, Palmer Museum of Art, artwork), SPARKcon Timothy Hutchings Stadium, Arlington, TX. Netherlands; Galerie Modul Kelowna, British Minneapolis Institute of Pennsylvania State University, art + design conference, The Play Generated Map 3, Dresden, Germany; CBK Columbia, Canada. Arts, Minneapolis, MN; University Park, PA; Pictures Raleigh, NC. and Document Archive, James A. Rose Wennekerpand, Winterlicht Time-Lapse, Site Santa Fe, by Wire and Wireless (solo www.plagmada.org. Self Portraits, Benito Exhibition, Schiedam, The Alicia Paz Santa Fe, NM; Witness, The show), KANSAS, New Jennifer McCandless Juarez University, Netherlands; Art Rotterdam, Through the Looking Glass, Dean’s Gallery at John Jay York, NY; united states, The Craft Triennial, Silvermine Jennie C. Jones Oaxaca, Mexico; Fragile Art Fair, Rotterdam, The Agency Gallery, London, College, New York, NY. Aldrich Contemporary Art Gallery, New Cannan, SHIFT, The Studio Museum Boundaries, DCCA (Carole The Netherlands; MK UK; Spektrum Malerei, Museum, Ridgefi eld, CT. CT; National Sculpture in Harlem, New York, Bieber and Marc Ham Award Fundraiser Show, Kunstmuseum Magdeburg, 2000 Society Exhibition: Love, NY; The Bearden Project, Gallery), Wilmington, DE. RE:Rotterdam, Art Fair, Magdeburg, Germany; Melissa Brown Kanishka Raja National Sculpture The Studio Museum in Rotterdam, The Netherlands; Drawing Now Paris (solo Melissa Brown: Five by Five (curated by Society, online exhibition Harlem, New York, NY. Megan Walch Acquisition, Kunsthal project), Carrousel du Louvre, Palisades, Kansas Barbara Takenaga), DC series, New York, NY. The Lineage of Eccentricity Rotterdam, Rotterdam, The Paris, France; Colourless Gallery, New York, NY. Moore Gallery, New York, NY. Stage Two, MOP Projects, Netherlands; MK Award, Green Ideas Sleep Furiously, Sydney, New South Wales; Art Fair, Amsterdam, Dukan Hourdequin Matthew Northridge ’00, Anthony Campuzano Alejandra Seeber Friends gather at the opening of Mike Schuwerk’s (A ’10) The Stain, Bett Gallery, The Netherlands. Gallery, Paris, France; Twelve Ladders, or, How I Planned Put These Away or: The New York Painting, exhibition Default Swap: The Derivative Series at the first Hobart, Tasmania Australia. Switch, Van de Weghe My Escape, 2009, wood/found Storm, Transparent Things SHOW, Munich, Germany; installation at 92YTribeca. Steed Taylor Galerie, Antwerp, Belgium; image, 30" x 22" x 9" and In Praise of Al’s Hotel, ABSTRACTA TU! (curated 1997 INVASIVE Road Tattoo, When Sparks Fly, Drake Shelf Life 3 at the Pew by Alejandra Seeber), Miau Nicole Awai Sculpture Park of the North Hotel, Toronto, Canada; Center for Arts and Heritage, Miau Gallery, Buenos SKOWHEGAN AT 92YTRIBECA: Friends with Benefi ts, Carolina Museum of Art, Fondation Colas-Nouvelles Gallery, Portland, OR; Ellen Philadelphia, PA; Unhappy Aires, Argentina. AN ALUMNI EXHIBITION Lehmann Maupin Gallery, Raleigh, NC; Broken Chain Acquisitions, Ecole des Lesperance & Jeffry Mitchell, But Used To It/Six Years And New York, NY; Me Love Road Tattoo Commission, Beaux-Arts, Paris, France. NADA Art Fair, Miami, FL; Then Some, Title Magazine, Zoe Sheehan Saldana IN 3 PARTS You Long Time, Aljira, A Mesa Art Center, Mesa, AZ; Dear Pippa Bacca, Frieze Art Philadelphia, PA; 60/60, Chain chain chain, Center for Contemporary Labor Line Road Tattoo, Christopher Sollars Fair, Frieze Frame Section, Fleisher/Ollman Gallery, Bischoff/Weiss Gallery, March 8 – May 31, 2012 Art, Jersey City, NJ. 18th Street, Arlington, VA; Trash, The New Children’s Ambach & Rice Booth, New Philadelphia, PA; A Complete London, England. Daughters and Sons Knot Museum, San Diego, CA. York, NY; Contemporary Die, Etc. (curated by Anthony The annual Skowhegan alumni exhibition this past Beth Campbell Road Tattoo Commission, Watercolor, Morgan Campuzano), Fleisher/ Rudy Shepherd spring included a series of three, month-long Letters from home, Ochi Vermont Avenue NW, 1999 Lehman Contemporary, Ollman Gallery, Philadelphia, Psychic Death, Mixed Greens installations in the gallery, café, and lobby/lounge Gallery, Ketchum, ID; Show, Washington, DC; Radiant Becca Albee New York, NY; Textile PA; Hi Jack!, Jack Shainman Gallery, New York, NY. Seomi Gallery, Seoul, Korea; Road Tattoo Commission, St. You, Me, We, She, Fleisher/ Group Show, Josh Lilley Gallery, New York, NY. areas of the 92YTribeca. Alumni from the past 20 Periodic Split, Andrew Andrew Street, New Orleans, Ollman, Philadelphia, PA; Gallery, London, UK. summers at Skowhegan were invited to submit Beth Campbell ’97, Lamps, 2010, wooden tables and chairs, glass Rafacz Gallery, Chicago, LA; Galloon Road Tattoo, An E.A.R. to the ground…, Saul Chernick vases, candles, pens, scarves and steel, 50" x 115" x 96" proposals for installations and curated group exhibi- IL; Exhibition, Scottsdale Chicago, IL; The Bridge June and John Alcott Joan Linder Falling Through Space tions that were site-specifi c and that capitalized on Museum of Contemporary & The Devil Road Tattoo, Gallery, University of North Decade: Ten Years of Drawn by the Line, Art, Scottsdale, AZ. Kingsbridge Neighbor, Bronx, Carolina, Chapel Hill, NC; Collecting, Albright Knox University of Buffalo Art the architecture, fl ow of traffi c, and particular usage NY; Radiant, River Bend Film Re-Telling, NURTUREart, Art Gallery, Buffalo, NY; Galleries, Buffalo, NY. of the 92YTribeca’s community-based, multi-use Juana Valdes Festival, South Bend, IN. Brooklyn, NY; On a Flora of Bensonhurst / facility. A selection was made from a wide range Operating System, The Sylvia Person’s Person 1, Possible Permanent Public Artwork, Stephanie Diamond of submissions and installations were positioned Wald and Po Kim Art Gallery, 1998 Projects, Philadelphia, PA. MTA 71st Station D Line, Community of Community, New York, NY; III Bienal de J.D. Beltran Brooklyn, NY; Buds, Blooms Queens Museum of Art, to complement each other within the overall space. Arte Latinoamericano del Kaleidoscope of Pacifi c Rosemarie Fiore & Berries: Plants in Science Flushing Meadows Corona Over the course of the three-month program, visi- Bronx 2012, Bronx, NY. Standard Time, Southern Fire Works (group), Culture & Art, Everhart Park Queens, NY; You, Me, tors enjoyed multiple installations, including two Exposure and Southern Hunterdon Art Museum, Museum, Scranton, PA. We, She, Fleisher/Ollman Alumni-curated group exhibitions, two solo exhibi- 1996 California Institute of Clinton, NJ. Gallery, Philadelphia, PA. Louis Cameron Architecture (SciArc), San Jean Shin tions, and three large-scale drawing installations The Bearden Project, Francisco and Los Angeles, Desiree Holman American Chambers, Angelina Gualdoni on the lobby walls, behind the reception desk, The Studio Museum in CA; Here Be Dragons: Fifty Years of Bay Area Gyeongnam Art Museum, Regina Rex - Part 1, Eli and in the café. Videos by various artists were also Harlem, New York, NY. Mapping Information and Art: The SECA Awards, SF Changwon, Korea; Ping Gallery, New York, prominently shown on TV monitors in the café Imagination, Intersection MOMA, San Fransico, CA; International Artists NY/ NY; Channels, Kavi Gupta Anthony Campuzano ’00, Michael Doyle for the Arts, San Francisco, Big Reality, 319 Scholes London Exchange, Korean Berlin, Berlin, Germany; Secrets (For E.H with Study), and on the lobby walls, and eerily displayed in 75, Galerie Robert Keller, CA; Magic Stories, Gallery, Brooklyn, NY. Cultural Centre UK, London, Queens International 2011, colored pencil, ink, the entranceway to the theater. With the invalu- Kandern, Germany; Bishkek, National Fine UK; Extreme Materials 2, 2012: Three Points Make a graphite, and photograph on board, 15" x 20" able support of Vanessa Cohen of the 92YTribeca Regionale 12, Staedtische Arts Museum, Kyrgyzstan, Andrew Johnson Memorial Art Gallery, Triangle, Queens Museum and Sarah Workneh, Co-Director of Skowhegan, Galerie Stapfl ehus, Weil Bishkek, Kyrgyzstan; The Sites of Passage, Mattress University of Rochester, of Art, Flushing Meadows am Rhein, Germany. JD Beltran ’98, Cinema Snowglobe (Golden Gate Bridge), 2012, Future Imagined: What’s Factory, Pittsburgh, PA; Rochester, NY; Jean Shin Corona Park Queens NY. the public spaces of the 92YTribeca were fi lled video, glass, custom electronics, mixed media, 3" x 4 1/2" Next, 2012 zero1biennial, The Double, Cabinet and & Brian Ripel, RETREAT, Edra Soto with work by over thirty artists between March Erik Geschke Performance Art Institute, LAXART, Brooklyn and deCordova Sculpture Park Ridley Howard CoLaboratory, The Glass and May. These carefully placed installations Crocodile Tears (solo San Francisco, CA. Los Angeles, NY and CA; and Museum, Lincoln, MA; Ridley Howard, Leo Koenig Curtain Gallery, Columbia created an environment where visitors, com- exhibition), Manuel Izquierdo Yoshiko Kanai Heather Carson OUT OF RUBBLE, Bowling Context Revisited, U.S. Dept Gallery, New York, NY. College, Chicago, IL; Living Gallery, Pacifi c Northwest Second Annual Curate NYC, Heather Carson, Ace Karlos Carcamo Green University Galleries, of State, Art in Embassies by Example, Northeastern ing and going daily for lunch, classes, or cultural College of Art, Portland, OR; Online Exhibition; PIEROGI Gallery, Los Angeles, CA. Voces y Visiones: Bowling Green, OH; The Program, Seoul, Korea. Frank Meuschke Illinois University Fine Arts events, could encounter, sometimes unexpect- Untitled (Social Engineering) Online Flat Files, Brooklyn, Contemporary Art and Imprint of War, University Untitled Solo, Bing Davis Center Gallery, Chicago, edly, the diverse art of Skowhegan alumni. (solo exhibition), Vox Populi NY; 2012 Annual WAGMAG Toni Jo Coppa the City, El Museo del Art Gallery, University of Mary Temple Gallery at Upper Iowa IL; Positive Reinforcement, Gallery, Philadelphia, PA; Benefi t, Boiler, Brooklyn, NY; Monsters, Pinecone & Barrio, New York, NY; Pittsburgh, Pittsburgh, PA. Untitled (Barely There), University, Fayette, IA. Peanut Gallery, Chicago, IL; —Carrie Springer Portland2012: A Biennial of The Last Art Fair, Northside Chickadee, Portland, ME; Kerosene Garden, Able Temple Gallery, Tyler School On Making Things Matter: Contemporary Art, Disjecta, Art Festival, Brooklyn, NY. MFA Retrospective, Maine Fine Arts, New York, NY. Ellen Lesperance of Art, Philadelphia, PA; Wall Matthew Northridge Strategies For Preservation, Juror, Skowhegan at 92YTribeca, Portland, OR; Portland2012, College of Art, Portland, The People’s Biennial, Works, DeCordova Sculpture Something Superbly Small: SHoP (Southside Hub 2012 Senior Curatorial Assistant, Schneider Museum of ME; Free For All, Space Traveling exhibition; Body Park and Museum, Lincoln, Pint-sized Art, City of Brea of Production), Chicago, Whitney Museum of American Art Gallery, Portland, ME. Gesture, Elizabeth Leach MA; First Week, Museum Art Gallery, Brea, CA; IL; Spotlight Exhibition:

27 28 Afterimage, Center for Kunstraum, Düsseldorf, 2003 Puerto Rico; Us Against Lei Meng Project Gallery, Brussels, de Arte Contemporeano, Katie Herzog Nacional de San Carlos, Book and Paper Arts, Germany; Ground Crystal Z. Campbell Them, Freight+Volume On a Small Piece of Belgium; The Factory Sevilla, Spain; Fiona Tan - Object-Oriented Mexico City, Mexico; 30 Columbia College Chicago, Control, Kunsthaus Crystal Z Campbell: Gallery, New York, NY. Land, FXFOWLE Gallery, of Forms, Manifesta 9 Disorient, Gallery of Modern Programming, Palo Alto Aniversario del Museo IL; Afterimage, Chicago, Muerz, Mürzzuschlag, Untitled, Wave Hill Public SUPERHEROES, Moot New York, NY. Parallel - Onderwijslaan 4, Art, Glasgow, Scotland; Research Center, Palo Alto, Nacional de Arte, Museo IL; Afrolatinos, Museo de Austria; Paradiesische Garden, Bronx, NY. Gallery, Hong Kong, China. Waterschei, Genk, Belgium; Beyond Imagination, Stedelijk CA; Journal of Rejected Nacional de Arte MUNAL, Arte de Caguas, San Juan, Zustände, Jutta Shana Moulton The Factory of Forms - JVE, Museum Amsterdam, Research, Quint Gallery Mexico City, Mexico. Puerto Rico; Sic Transit Kleinknecht Kunsthandel, William Cordova Hong Zhang Sila Woli, Galeria Jan Van Eyck Academie, The Netherlands. Restroom, La Jolla, CA; Gloria Mundi: Industry Düsseldorf, Germany. S-fi les, Museo del Barrio, Portraiture Now: Asian Arsenal, Bialystok, Maastricht, Netherlands; Movement, Anomalies Ishmael Randall Weeks of the Ordinary, Chicago New York, NY; Halleluwah!, American Portraits of Poland; Whispering Who told you so?! #2 2007 and Distractions, Wolfson S-Files Bienal, Museo Del Cultural Center, Chicago, IL. Sharon Paz Abtart Stuuttgart, Stuttgart, Encounter, The Smithsonian Pines 10, SFMOMA, Truth vs. Organization, Diana Al-Hadid College Gallery, University Barrio, New York, NY; The Goldrausch 2011, Halle am Germany; Sin Titulo (El Eco National Portrait Gallery, San Francisco, CA. Onomatopè, Eindhoven, Diana Al-Hadid (Solo), of Oxford, Oxford, England; Peripatetic School: Itinerant 2001 Wasser, Berlin, Germany. de Nicolas Guillen Landrian), Washington, DC; Out of Netherlands; Gibst Du mir Nasher Sculpture Center, Next Generation Show, drawing from Latin America, Sophia Ainslie Espacio Glutinador, Havana, Line: A Show of Extended Christopher Patch Steine, geb ich Dir Sand, Dallas, TX; Diana Al- PØST, Los Angeles, CA. Drawing Room, London, UK. Then and Now, Spoke Jessica Plattner Cuba; This One’s 4U Drawing Practices, Open Daybook, LACE, Performance Project Liste 17 Hadid: Water Thief (Solo), Gallery, Boston, MA; Babyscapes: New Collage (Pa’ Nosotros), Boston University of California, Los Angeles, CA. Basel curated by Burkhard Nevada Museum of Art, Elanit Kayne Sean Slemon Inside Out 2 (solo), Grillo by Jessica Plattner, Medicine Center for the Arts: Mills Davis Nelson Gallery, Davis, Meltzer, Basel, Switzerland. Reno, NV; Diana Al-Hadid Visionary Sanctuary The Sun Stands Still, Magnan Gallery, Beverly, MA. Hat Cultural Centre, Alberta, Gallery, Boston, MA. CA; Haywire: Site Specifi c Daniel Rich (Solo), Centro de Arte curated by Alison Beth Metz Gallery, New York, Canada; Jessica Plattner, Michael Scoggins ’03, Poor Solo Show, Lawrence Arts Platforms of Power, Museum Ben Kinsley Amy Finkbeiner Pendleton Center for the Little Drawing, 2012, graphite, Johnston Foster Center, Lawrence, KS. of Fine Arts, Boston, MA; 8501 to 11400 (On Moving), Sunset Rising, Benefi t for Arts, Pendleton, OR. color pencil on paper, 67" x 51" Under the Sea, Mass Group Exhibition, Joshua MOCA, Cleveland, OH; From NARS Foundation, NARS MOCA, Kid’s Space, Michael Zheng Liner Gallery, New York, NY. The Mezzanine, Kresge Foundation, Brooklyn, NY; Draga Susanj North Adams, MA. IN YOU IS THE ILLUSION Gallery, Ramapo College Kentucky Derby Benefi t, Swarming, site-specifi c MA; Companions, Mendes OF THE DAY, Gallery 2005 of New Jersey, Mahwah, Smack Mellon Gallery, installation, Prudential Plaza Wood, Sao Paulo, Brasil. N. Sean Glover Latutide 28, New Dehli, Rachel Frank NJ; Drawings Related Brooklyn, NY; The Eternal Chicago, Chicago, IL; Hive Masters of the Visual India; Conceptualizing the New Prints 2012/Winter, to Performance Works, Incantation, ITINERANT Culture: Captivated by Lauren Portada Universe, Delaware Body: Gaze, Masquerading International Print Center 92YTribeca, New York, NY. Performance Art Festival, the Honeybee, Wave Hill Space Over Time, Camel Center for Contemporary and Spectacle, Amelie A. New York, New York, NY; Grace Exhibition Space, Glyndor Gallery, Bronx, NY. Art Space, Brooklyn, NY. Art, Wilmington, DE. Wallace Gallery, SUNY at In Search of..., Rhodes Emily Mast Brooklyn, NY; The Never- Old Westbury, NY; Double College, Memphis, TN; B!RDBRA!N, Roy & Edna Ending Litany, ITINERANT 2002 Wanda Raimundi-Ortiz Noah Klersfeld Screens: Duan Yingmei and The Shadow Self, Peru Disney Cal Arts Theater, Los Performance Art Festival, Donna Conlon SoloESASMujeres, Mission Urban / Suburban, The Michael Jizhong Zheng, WiE State College, Peru, NE. Angeles, CA; B!RDBRA!N Queens Crossing Art El Museo’s Bienal: The Cultural Center for Latino Islip Museum Art Museum, Kultur, Berlin, Germany. (Epilogue), Public Fiction, Gallery, Flushing, NY; (S) Files 2011, Museo del Arts, San Francisco, CA; East Islip, NY; See Heather Hart Los Angeles, CA. TOTEM, www.soft-spot. Barrio, New York, NY. super HUMAN, Central Utah Change, The Los Angeles 2004 The Northern Oracle: We net, Online; THE DOUBLE, Art Center, Ephraim, UT. International Airport, Los Thomas Burke Will Tear the Roof Off the Katja Mater Video Screening, organized Steve Locke Angeles, CA; The Evidence New Paintings, Ameringer, Mutha, Franconia Sculpture Come le lucciole (As the by Skowhegan Alliance, you don’t deserve me, Aaron T. Stephan Shows, The Museum of McEnery, Yohe Gallery, Park, Franconia, MN; The fi r e fl i e s ) , Galleria Nicoletta Cabinet, Brooklyn; LAXART, Samsøn, Boston, MA; One Making Sense, Aucocisco, Contemporary Photography, New York, NY. Viewing Program, curated Rusconi, Milan, Italy; Los Angeles, Brooklyn, NY more kiss then we’re history, Portland, ME; CMCA Chicago, IL; The Chain Link artist registry, New York, NY; Tangible Time, Nest, The and Los Angeles, CA. Platform Gallery, Seattle, BIENNIAL, Center for Fence, Carriage House William Cravis RAW/COOKED, Brooklyn Hague, The Netherlands; WA; Hung Jury, 225 Friend Maine Contemporary at The Islip Art Museum, Seven McKnight Artists, Museum, Brooklyn, NY. Les marques aveugles, Le Ulrike Heydenreich Street, Boston, MA; Shame/ Art, Rockport, ME. Islip, NY; The Passive Northern Clay Center, Centre d’Art Contemporain Full House, Galerie Gudrun Less, Fort Point Artists Aggressive series, Video Minneapolis, MN. Shervone Neckles Genève, Switzerland; Fuckner, Ludwigsburg, Community Gallery, Boston, Room at Freight+Volume Curated Amplify Evidence of Houdini’s Return, Germany; Antifoto, Gallery, New York, NY. Michael Henry Hayden Action:Sustainability AMOA-Arthouse, Austin, TX; N. Sean Glover ’03, Beyond the Sea (process shot), 2011, fresco on foam with sound, 90" x 80" x 26" Molting Exercises, Steve Through the Arts, Skylight Silverstein Annual, Bruce Gabriel Martinez Turner, Los Angeles, CA. Gallery at Bedford Silverstein Gallery, New York, Witness: 30 Artists Refl ect Stuyvesant Restoration NY; Autumn of Modernism, Contemporaneo, La Levy, Art Connects New NY; Dont / Panic, Durban on 30 Years of the Aids Julee Ann Holcombe Corporation, Brooklyn, NY. De Vleeshal, Middelburg, Conservera, Murcia, Spain. York, permanent art Art Gallery, 2nd Floor City Pandemic, Asian Arts Made in Chimerica, The The Netherlands; Un exhibition at Mercy First. Hall Building, Durban, Initiative, Philadelphia, PA; Parlor at Plainspoke, 2006 paisaje holandés / A Dutch El Anatsui South Africa; Implemented Solo Performance, Vertigo Portsmouth, NH. Elena Bajo Landscape, La Casa Gravity and Grace, Akron Art Alison O’Daniel Environments, Brundyn & Performance Art Series, ON Uncertain Terms (Solo Encendida, Madrid, Spain. Museum, Akron, OH; When Walking Forward-Running Gonsalves Gallery, Cape Waterloo Center for the Vera Iliatova Exhibition), SAMETITLED I Last Wrote To You About Past, Art In General, Town, South Africa. Arts, Cedar Falls, IA. Picaresque, David Castillo S/T, Berlin, Germany; Adam Shecter Africa, North Carolina Art New York, NY; Night Sky Gallery, Miami, FL. Elena Bajo, Sara Queer States, The Visual Museum, Raleigh, NC; Stitch (screening), Anthology Film Tiffany Sum Juan Recamán MacKillop, Cristiana Arts Center, Austin, TX. in Time, Axel Vervoordt Archives, New York, NY; Extreme Forms, O.W.W. The Power to Heal (fi lm Gwenessa Lam Palandri: Aesthetic Anarchy, Gallery, Antwerp, Belgium; Night Sky (screening), Black Gallery, Shanghai, China; screening), Anthology waiting for, Centre A, SCARAMOUCHE, New York, Molly Springfi eld When I Last Wrote To You Box, Pacifi c Standard Time: Across the Divide, Crossman Film Archives, New York, Vancouver, Canada. NY; Uncommonplaces, Extra Art=Text=Art: Works by About Africa, Denver Art Art in Los Angeles, 1945- Gallery, Whitewater, WI; NY; The Power to Heal City Kunsthal Antwerpen, Contemporary Artists, Museum, Denver, CO; 1980, Los Angeles, CA; Across the Divide, University (fi lm screening), The 8th Jason Manley Antwerp, Belgium; A Script Zimmerli Art Museum Intense Proximity, Triennale Prince at the Forum, Beacon of Texas, Austin, TX. Aljazeera International No Land, Kunsthalle for a Form, PERFORMA 11 at Rutgers Univerisity, de Paris, Paris, France; Arts Center, Los Angeles, Documentary Film Festival, Galapagos, Brooklyn, NY; BIENNIAL, New York, NY; New Brunswick, NJ; 18th Biennale of Sydney, CA; Night Sky (screening), 2008 Doha, Qatar; The Power Placemakers, Bemis Center Vessel, The Stonehouse, The Proto-History of the Sydney, Australia; Bienal de Fusebox Contemporary Kuba Bakowski to Heal (fi lm screening), of Contemporary Art, Omaha, Fringe BAS 7, Plymouth, Internet (solo exhibition), Montevideo, Montevideo, Art and Performance Open City Festival, Lublin, LIVE! Festival, Helsinki, NE; Manhattan Beach 3rd UK; Art in the Parking Thomas Robertello Uruguay; We Face Forward, festival, Austin, TX. Poland; Videoex Festival, Andorra, Helsinki, Finland. Annual Sculpture Garden, Space, Getty Foundation’s Gallery, Chicago, IL. Manchester Art Gallery, Zurich, Switzerland; Manhattan Beach Civic Pacifi c Standard Time and Manchester, UK; Masters of Alejandro Pintado Sport in Art, Museum of Michael Scoggins Plaza, Manhattan Beach, CA. LAXART, Los Angeles, CA; Fiona Tan the Transvangarde, October Nature, Summaria Lunn Contemporary Art in Krakow Colonialism, Trailer Park Elena Bajo Reconstructing Fiona Tan - Point of Gallery, London, UK. Gallery, London, UK; Incisión (MOCAK), Krakow, Poland. Sophia Ainslie ’01, Fragmented-Wall-1, 2012, wall paint on wall, 15' h x 23' w, Gustav Hoiland Proyects, San Juan, of the Common, D+T Departure, Centro Andaluz al Romanticismo, Museo

29 30 Avantika Bawa NY; PoorQuality: Inequality, Photography, Kansas Jonathan VanDyke Hill, Bronx, NY; Machine Nyeema Morgan Contemporary, Dallas, TX; The Dead. Fresh to Death., At Owners Risk, Suyama Duke University, Durham, Gallery, New York, NY; Bill With One Hand Between Wilderness, ISEA2012, Dirty Sensibilities: A 21st 2012 Summer Preview, Western Exhibitons, Chicago, Space, Seattle, WA; About NC; Open, Soup Lab Brady KC, Kansas City, MI. Us, Scaramouche (Part Albuquerque, NM. Century Exploration of the The Mission, Chicago, IL; IL; Wheres My Clone At?, Framing, Half /Dozen, Gallery, Norwich, UK. of the Performa Biennial), New American Black South, When Attitudes Became Double Break Gallery, San Portland, OR; Another MaryKate Maher New York, NY; Coming Ji Eun Kim Caribbean Cultural Center Form Become Attitudes, Diego, CA; Blaque Lyte, Documentation, Gallery Nicholas Fraser The Bricoleurs, BRIC After, The Power Plant, Art Spectrum 2012, African Diaspora Institute, CCA Wattis Institute for ADA Gallery, Richmond, Maskara, Mumbai, India. Ground Rules, various sites Rotunda Gallery, Brooklyn, Toronto, Canada. Samsung Museum of Art New York, NY; Our Daily Contemporary Arts, San VA; Afterimage, DePaul in Nizhny Tagil, Ekaterinburg NY; Group Exhibition LEEUM, Seoul, Korea. Rite, Artspace, New Haven, Francisco, CA; Brasília, Cars, Art Museum, Chicago, IL. Caitlin Berrigan & Nizhny Tagil, Russia; Art of Gallery Artists, Hinge Jacob Yanes CT; Project Gutenberg, Pools & Other Modernities Notes on the Species, Prospect: MODEL, Liteiny Gallery, Chicago, IL. Philomela, Steve Mie Olise Kjaergaard Galerie Jeanroch Dard, Paris, (solo exhibition), Center Marisa Mandler Mills Gallery, Boston, MA; Prospect, St. Petersburg, Turner Contemporary, Shipsearching, Honor France; At Play 4, Bracknell 3 for print and media Systems of Sentiment, 2012 deCordova Biennial, Russia; Branding Christian Maychack Los Angeles, CA. Fraser Gallery, Los Gallery, South Hill Park Arts arts, Hamilton, Canada. Structures of Labor, deCordova Museum, Projects 1,2,3, Governors Christian Maychack: New Angeles, CA; The Silent Centre (traveling exhibition), USC Hillel Gallery, Los Lincoln, MA; Spectrum Island, New York, NY. Work, Jeff Bailey Gallery, 2009 Station, Kunsthallen Nikolaj Bracknell, UK; What Do You Ian Warren Angeles, CA; The Road of Inevitable Violence, New York, NY; Decade, Lauren Adams Copenhagen Contemporary Believe In?, New York Photo 2012 MFA Thesis Exhibition, Ahead, Roberts & Tilton, Cyclorama, Boston Center Lydia Greer Gregory Lind Gallery, San Out of Fashion, South Art Center, Copenhagen, Festival 2012, Brooklyn Emily Fisher Landau Center Los Angeles, CA. for the Arts / deCordova Experimental Film Fest, Francisco, CA; Dead in Eastern Center for Denmark; wanderings, Y (DUMBO), NY; Nyeema for Art, Queens, NY. Museum, Boston, MA. Portland 2012, Gallery August, I-20, New York, NY. Contemporary Arts, Gallery, New York, NY; Morgan: The Dubious Sum Mary Mattingly Homeland, Portland, OR; Winston-Salem, NC; Habitation, Marianne Friis of Vaguely Discernable Jayoung Yoon Lianzhou Foto2011: Toward Suzanne Broughel In Praise of Shadows Monika Sziladi Unravelling the National Trust, Gallery, Copenhagen, Parts, The Bindery Operating System, Sylvia the Social Landscape, Collectivity: Art-making (solo show), Cabin 31 Women in Art Nymans House and Gardens, Denmark; Searching, Mixed Projects, St. Paul, MN. Wald and Po Kim art gallery, Lianzhou Foto2011, in a Collective, Jamaica Exhibitions, Chicago, IL. Photography, Hasted Sussex, UK; A Cloak Over Greens, New York, NY; New York, NY; Show Lianzhou, China; Temporary Center for Arts and Learning Kraeutler, New York, NY; the Ocean, Back Lane West, Houston Art Fair, Barbara Rosalind Murray me your hair, Space*C Structures: Performing (JCAL), Jamaica, NY; John Houck Tabula Rasa, Curious Redruth, Cornwall, UK; Davis Gallery, Houston Art Lateral Canal Ahead, CAC gallery, Seoul, Korea. Architecture in Contemporary Gabriel Martinez ’03 and Roxana Pérez-Méndez ’03 H(A)UNTED, The Caribbean To Understand Photography, Matter, Jersey City, NJ. Forthcoming, Contemporary Fair, Houston, TX; Lars Gallery, Cambridge Arts Art, deCordova Museum performing Blind Justice in 2011. Cultural Center, New York, You Must First Understand Art Museum, St. Louis, St. Olsen Gallery, Copenhagen, Council, Cambridge, MA; 2010 and Sculpture Park, Lincoln, Louis, MO; Solo Project Denmark; Papermatch, Painting In A Bag, Itinerant Strauss MA; Labour of Love, Arko Art with Contemporary Art Carlsberg / Halmlageret, Arts Festival, New York, Bourque-LaFrance Center, Seoul, Korea; Under Museum, St. Louis, Expo Copenhagen, Denmark. NY; Taylorfest, Visual Dead in August curated Cover, Maryland Institute SkowheganPERFORMS Chicago, Chicago, IL; Out Centre For Contemporary by site95, I-20 Gallery, College of Art Decker Gallery, of Fashion, Cameron Art Anna Kunz Art & The Bernard Shaw New York, NY. Baltimore, MD; Camp Out: September 29, 2012 Museum, Wilmington, NC; Works on Paper/Wearable Theatre, Carlow, Ireland. Finding Home in an Unstable Home Work: Domestic Sculpture, UUSI Design Tim Campbell World, Laumeier Sculpture Occupying the entire Park, SkowheganPERFORMS Narratives in Contemporary Collaborative, Chicago, IL; Ann Oren What if I take my problem to Park, St. Louis, MO; Surface invites Skowhegan School of Painting & Sculpture Art, Green Hill Center for Luminae, White Box NYC, EPOS - Cinepublika, the united nations?, Porch Tension: The Future of Water, alumni to activate Socrates Sculpture Park with NC Art, Greensboro, NC. New York, NY; Color Fully The Tel-Aviv Museum Projects, Washington, DC; Eyebeam Center for Art and Engaged, A+D Gallery, of Art, Tel-Aviv, Israel; Lost and Found, Museum Technology, New York, NY. an afternoon of performance. The site-specifi c Nayari Castillo Chicago, IL; Spectral Skowhegan at 92YTribeca, of New Art Detroit and works are located throughout the Park, taking Once Tipos / Eleven Landscape with Viewing 92YTribeca, New York, NY; Passenger, Detroit, MI; The Eliza Myrie into account the uniqueness that Socrates Types, La Sala Mendoza, Stations, GALLERY 400, InContact, Anthology Film Aesthetic Document, WVTF, Skyscraper: Art and provides as a venue—with its gardens, waterfront Caracas, Venezuela. Chicago, IL; Works on Archives, New York, NY. Roanoke, VA; Natural Fallacy, Architecture Against Gravity, Paper: Anna Aunz, Thomas 87Florida, Washington, DC. Museum of Contemporary access, view of the Manhattan skyline, and fi eld Rachel Fainter Nozkowski, Michelle Wasson, Tara Pelletier Art Chicago, Chicago, IL. of public sculpture. The event coincides with Bushwick Blackout, The Lake Forest College, Lake Pacifi c Non Standard Time, Ahram Jeong existing fi tness and educational programming Shirey, Brooklyn, NY. Forest, IL; Anna Kunz and FAR at Autonomie, Los Ahram Jeong, Momenta Gala Porras-Kim along with our weekly farmers market, creating Paige Cunningham for The Angeles, CA; First Light Art, Brooklyn, NY. Prospecting Notes About Amy Feldman Industry of the Ordinary Last Light, Abrons Art Sounds, 18th Street Arts a beautiful social dynamic between our usual Amy Feldman: Dark Retrospective, The Chicago Center, New York, NY. Anna Chiaretta Center, Santa Monica Park-goers, un-expecting passersby, and the Selects, Blackston Cultural Center, Chicago, Lavatelli CA; Whistling and invited art public. The artists respond to Socrates’ Gallery, New York, NY. IL; Anna Kunz for THE Jaye Rhee New Contemporaries V: The Language Transfi guration, context of being a place where our community SELDOMS Dance Co. Exit Keeping It Real, CU Art San Diego Art Prize, Susan Commonwealth and Jane Fox Hipple Disclaimer- Science and Museum, Boulder, CO; Street Fine Art Gallery, Council, Los Angeles, CA. gathers and engages the viewers in surprising The Way of Things (solo Fiction Ahead, Traveling Crying, Seasaw, Tear, Solana Beach, CA, My Pink ways. SkowheganPERFORMS fosters a stimulating, exhibition), DODGE Dance performance, Between: New Video, Rooms, San Diego Space Christopher Samuels thought-provoking atmosphere and truly furthers Gallery, New York, NY. Chicago and Touring. Norton Museum of 4 Art, San Diego, CA. What if I take my problem to our mission to encourage a strong interaction Art, Palm Beach, FL. the United Nations?, Porch Janelle Iglesias Dan Levenson Grimm Lee Projects, Washington, DC; between artists, artworks, and the public. Everyone El Museo’s Bienal: The State Art Academy Zürich Christopher Robbins Graduate Thesis I Exhibition, Lets Talk About Love, Baby, involved benefi ts from this collaboration, and we (S) Files 2011, El Museo Monochrome Workshop, Ghana ThinkTank at The North Avenue Market Museum of Contemporary here at Socrates look forward to future events. del Barrio, New York, NY; Vox Populi, Philadelphia, PA. Global Contemporary, Art Space, Baltimore, MD; Art Detroit (MOCAD), Fell from the Same Tree, Worlds After 1989, ZKM, Young Blood, Maryland Detroit, MI; Evidence of —Shaun Leonardo (A ’04) Y Gallery, New York, NY; Nat Meade Karlsruhe, Germany; 2011 Art Place, Baltimore, MD. Houdini’s Return, AMOA, Makeup on Empty Space, Falsetto, Froelick Shenzhen & Hong Kong Arthouse, Austin, TX. Director of Public Programs Larissa Goldston Gallery, Galery, Portland, OR. Bi-City Biennale, Shenzen, David Leggett Socrates Sculpture Park New York, NY; Janelle Hong Kong, China. David Leggett New Paintings, Jessica Segall Iglesias, Larissa Goldston Matthew Metzger Hinge Gallery, Chicago, IL; International Symposium for Gallery, New York, NY. Be-Longing, Art 43 Basel, Clarissa Tossin Coco River Fudge Street, Electronic Art, Earthbound Switzerland; Ghost, The 2012 Core Exhibition, Hyde Park Art Center, Moon Project Site, Nova Jiang Smart Museum of Art, Glassell School of Art, Chicago, IL; B.A.D., Beverly Albuquerque, NM; untitled, The Creatomatic, Eyebeam, Chicago, IL; Backdrop, Tony Museum of Fine Arts Arts Center, Chicago, IL; Mongolian National Modern David Leggett ’10, The Chicago Dog, 2012, paper mounted on canvas, acrylic, rhinestones, color pencil, New York, NY; Sunroom Wight Gallery, Chicago, IL. Houston, Houston, TX; It’s Getting To The Point Art Gallery, Ulanbaatar, and collage, 54" x 60" Project Space, Wave Dallas Biennial, Dallas Where Nobody Respects Mongolia; Found Outside,

31 32 Sharona Eliassaf Tyler McPhee Maria Walker Queens International Fishing from the Beach: Domesticities, Bull and Alumni Awards 2012: Three Points Make a Syracuse University Ram, New York, NY; Maria Triangle, Queens Museum MFA Exhibition curated Walker and Sun You, Open of Art, Flushing Meadows by students from Bard Space Gallery, Long Island American Academy Korea Arts Foundation Corona Park Queens, NY. CCS, Dumbo Arts City, NY; 001 | Ryan Kitson, in Rome Prize of America (KAFA) Center, Brooklyn, NY. Matthias Merkel-Hess, Maria Nari Ward ’91 Jean Shin ’99 Catherine Fairbanks Walker, Favorite Goods, Los Salon Show, Pop Up Art Michael Menchaca Angeles, CA; Homecoming: House, Las Vegas, NV; Of Migratus, Red Space First Annual Alumni American Academy in New York Foundation Transference is a Tough Row Gallery, Austin, TX; Exhibition, Brown University, Rome, Visiting Artist for the Arts Fellowship to Hoe, Experimental Film Estampas De La Raza: Providence, RI; Potential Teresa Booth Brown ’88 Michael Berryhill ’07 Festival, Homeland Gallery, Contemporary Prints Images, 1708 Gallery, Louis Cameron ’96 Portland, OR; Constructing From The Romo Collection, Richmond, VA; Immaterial Ridley Howard ’00 Fantasy, Beacon Arts, Los McNay Art Museum, San Ergonomics, Space 4 Art, Anonymous Was Liz Magic Laser ’08 Angeles, CA; Far Along, Antonio, TX; Serie Print San Diego, CA; Four Rooms, a Woman Award Christian Maychack ’08 Part 1, James Madison Project XIX, Mexic-Arte John Davis Gallery, Hudson, Linda Besemer ’81 Shana Moulton ’04 University, Smith House Museum, Austin, TX. NY; Upside Downturn, Daniel Rich ’04 Clare Grill ’11, Birds, 2012, oil and charcoal on paper, 17" x 11.75" Yoko Inoue ’00 Gallery, Harrisonburg, VA; HKJB @ Gallery Laroche/ Sheila Pepe ’94 William Villalongo ’02 About the Thing and the Javier Rodriguez Joncas, Montreal, Canada. Thing Itself, Pop Up Art They don’t know why, but Aldrich Contemporary Art 2011 House, Las Vegas, NV. they keep doing it, Waterside Asim Waqif Art Matters Grant Pollock-Krasner Museum, Ridgefi eld, CT. Matthew Ager Contemporary, London, Filmprogram; But a pit stop Foundation Grant A Nod, Space In Maya Hayuk UK; DOBLE DISCURSO, on a long journey, Wanas Mary Walling Blackburn ’11 Hasan Elahi ’09 Sarah Cain ’06 Mitchell Squire Between, London, UK. 2012 Apocabliss (solo Centro Cultural Chacao, Foundation, Sweden; 2+2=5, Kyung Woo Han ’10 no ‘nother country, CUE Art show), Anonymous Gallery, Caracas, Venezuela. Palette Gallery, New Delhi, Hope Ginsburg ’97 Wardell Milan ’03 JC Lenochan ’01 Foundation, New York, NY; Theodora Allen Mexico City, Mexico; India; Lavaris Vastu, India Art Kathryn Nobbe ’89 Museum as Hub: Stephanie Brand New Heartache, High Five (group show), Gamaliel Rodriquez Fair 2012, New Delhi, India; Sreshta Rit Premnath ’09 Diego Bianchi (A ’06), Finger Park, Photograph, 2012. Cover design by Gabe Fowler (A ’04). Jessica Segall ’10 Bundith Phunsombatlert ’09 Jemison and Jamal Cyrus: Michael Jon Gallery, New Image Art Gallery, ARCO 30 Feria Internacional Asim Waqif +Sin;drome+ 9 Gamaliel Rodriquez ’11 Alpha’s Bet Is Not Over Miami, FL. Los Angeles, CA; Mary de Arte Contemporáneo Circuits, Khoj International Jacob Yanes ’08 Yet, New Museum, New Heilmann: Good Vibrations/ (solo projects), Madrid, Artists’ Association, New SENSORIUM York, NY; Mitchell Squire Samantha Bittman Maya Hayuk: Heavy Lights, Spain; Interconexiones: Delhi, India; Andekhi Jumna Creative Capital, Visual Arts October 25, 2012 ‘Inside the White Cube’, Don’t Get High on Your Bonnefanten Museum, Lecturas Curatoriales de (site specifi c installation), Marie Walsh Sharpe White Cube, London, UK. Own Supply, David Castillo Maastricht, The Netherlands. la Colección Permanente, River Yamuna, New LaToya Ruby Frazier ’07 Art Foundation Gallery, Miami, FL; Painted, Museo de Arte de Puerto Delhi, India; Cynical Love, Zach Moser ’08 It was a pleasure to be invited to be on the committee selecting the works Amy Feldman ’09 Fabian Tabibian The Green Gallery East, Shara Hughes Rico; The UBS Prize, Museo Kiran Nadar Museum of & Eric Leshinsky featured in Skowhegan’s latest alumni project—Sensorium, a newsprint publica- Nathan Young ’09 Susan Homer ’93 Same Same But Different, Milwaukee, WI; Perceptual Sculptures By Shara Hughes, de Arte de Puerto Rico. Art, NOIDA, India; Video tion featuring the work of 36 artists, juried by Amy Sillman (F ’00), Gabe Fowler SOIL, Seattle, WA; Same Notions, Thomas Robertello P-R-I-M-E-T-I-M-E, Brooklyn, Wednesday, Gallery & Raven Chacon John J O’Connor ’00 Same But Different, Parallel Gallery, Chicago, IL; Taste NY; New Works, American Andrew Ross Espace, New Delhi, India. Lisa Sigal ’86 Erika Ranee ’93 (A ’04), Dan Levenson (A ’09) and myself. The newspaper was intended to Art Space, Brooklyn, NY. and Texture, Small Black Contemporary, New Take It With You, Jack Randy Wray ’90 highlight 2-D works and submitting artists were asked to create pieces specifi - Door, Queens, NY; Fibers, York, NY; Shara Hughes, Chiles Gallery, New York, Katie Wynne cally for this format—a kind of site-specifi c journal of art. Skowhegan is not just John Simon Cullen Washington Jr. Madison Morgan Cultural Atlanta Contemporary NY; July Group Show, CEO SIN Strength in Numbers, a residency but also a place of self-refi nement. In viewing works from artists Superheroes, 516 ARTS, Center, Madison, GA; Arts Center, Atlanta, GA. Gallery, Malmo, Sweden. SCOPE, Miami, FL; The Big Guggenheim Memorial MTA, Arts for Transit, Albuquerque, NM. Where My Cones At?, Show, Lawndale Art Center, Foundation Fellowship Public Arts Commission who are alumni from as many as 30 years ago, the selection process exposed Double Break, San Diego, Jeremiah Hulsebos- Gabriela Salazar Houston, TX; Let’s talk Ellen Altfest ’02 Jean Shin ’99 me to a fascinating, long-standing history of artists who’ve taken part in this life Scott Patrick Wiener CA; New Formalisms 2, Spofford The Build Up, Fowler Arts about love, baby, Museum Matias Duville ’11 changing experience, including my fellow committee members. I admit it was The Luxury of Distance, 65GRAND, Chicago, IL. On making things matter: Collective, Brooklyn, NY; of Contemporary Art Chitra Ganesh ’01 diffi cult to look past the history and the works of talented friends and decide 92Y Uptown, Weill Strategies for preservation, For Closure (Outdoors, Detroit (curated by Chido The Studio Gallery, New York, NY. Amy Brener The Southside Hub of the Bronx), West Farms Johnson), Detroit, MI. Museum in Harlem, collectively what would be best curation for the fi rst issue. Although there were More and Different Production, Chicago, IL; Square Plaza, Bronx, NY. William H. Johnson Resident Artists signifi cant submissions it was as much about the language of imagery from Matthew Wilson Flags, Marlborough Graveyard, Terraformer, Claire Zitzow Prize, William H. Steffani Jemison ’08 page to page and cover to cover. The term Sensorium perfectly describes both Skowhegan Alumni Chelsea, New York, NY; Chicago, IL. Lauren Silva Strange Glue, Thompson Johnson Foundation Cullen Washington, Jr. ’10 the works included in the publication, and the experience of Skowhegan itself. Exhibitions, Drawings NADA Hudson, Basilica Columbia 2012 First-Year Gallery, Weston, MA; for the Arts Related to Performance Hudson, Hudson, NY. Jules Jones MFA Exhibition, Miriam The Natural Number, Deborah Grant ’96 Works, 92YTribeca, New Champion Contemporary & Ira D. Wallach Art Curfman Gallery, Fort —Derrick Adams (A ’02) York, NY; 2012 First-Year Mike Calway-Fagan booth, TX Contemporary Gallery, Schermerhorn Collins, CO; Y53k, Artifact Finalists Juror, Sensorium, a publication MFA Exhibition, Columbia The Indeterminate Length, Art Fair, Houston, TX; Hall, Columbia University, Gallery, San Diego, CA. Derrick Adams ’02 University Visual Arts Good Citizen, St. Louis, The Hundred Handed New York, NY. Clifford Owens ’04 Program, Wallach Art Gallery, MO; Fresh Bred, Quint Ones (solo show), Columbia University, New Contemporary Art, Conduit Gallery, Dallas, Jennifer Sullivan York, NY; Outside Mediation, Los Angeles, CA; KY7 TX; Vestigial Projections, Adult Movie, Las Cienegas Joan Mitchell Green Hall Gallery, Yale Biennial- Southern US Co-Lab, Austin, TX. Projects, Los Angeles, CA; Foundation Grant University, New Haven, CT; Biennial, Loudon House It’s a Process Performance, Diana Al-Hadid ’07 Corso Aperto, Como, Italy. Gallery, Lexington, KY. Pepe Mar Primetime, Brooklyn, NY; Nicole Awai ’97 Discrepant Modernism, Can’t Stop the Rock Lobster, William Cordova ’03 Brian Zegeer Jonathan Duff Frost Art Museum, Miami, Shoot the Lobster, New Janelle Iglesias ’09 Queens International Janet & Walter Sondheim FL; Texas National 2012, York, NY; The Dirty Dozen, Virgil Marti ’90 2012: Three Points Make a Artscape Prize, The Cole Art Center, Freight+Volume, New York, Catherine Murphy ’66 Triangle, Queens Museum Baltimore Museum of Nacogdoches, TX. NY; Another Side, The Re Kanishka Raja ’00 of Art, Flushing Meadows Arts, Baltimore, MD. Institute, Millerton, NY; Corona Park Queens, NY. The Right Wrong, Greene Exhibitions, Los Angeles, CA.

33 34 Residencies Grants & Fellowships SkowheganWALKS Art342, Constance Fundacion Lower East The Royal Scottish Spaces World Albert K. Murray Fine Illinois Arts Council, Alumni artists Negar Ahkami ’04, Michele Brody ’96, Fort Collins, CO Saltonstall Vaparaiso, Side Print Shop, Academy, Edinburgh Artist Program, Arts Fund, Artist Grant Project Grant Claire Zitzow ’11 Foundation for Mojacar, Special Editions Kuba Bakowski ’08 Spaces Gallery, Toni Jo Coppa ’97 Jeremiah Hulsebos-Spofford ’11 Jennie C. Jones ’96, and David Reed ’66 spoke about the Arts, Ithaca, NY Andalusia, Spain Residency, Cleveland, OH their favorite works in the Metropolitan Museum’s collection. Art OMI Melanie Kozol ’80 Robert Flynt ’74 New York, NY Salzburg Ben Kinsley ’06 International Jennie C. Jones ’96 International (February 25, 2012) Residency Corning Futura Centre Summer Academy Studio Time: Alfredo Orselli Memorial The Leon Levy Program, Museum of Glass, for Contemporary MacDowell Colony, of Fine Arts, Work of the Scholarship, UCLA Foundation Grant A tour of New York gallery exhibitions with four artists: Theodora Allen ’11 Gamaliel Rodriquez ’11 Ghent, NY Corning, NY Art International, Peterborough, NH Matthew Wilson ’10 Living Watch, Elena Bajo ’06, Suzanne McClelland ’99, Matthew Gamaliel Rodriquez ’11 Nancy M. Cohen ’84 Prague Gwenessa Lam ’04 Banff, Canada Gamaliel Rodriquez ’11 Gamaliel Rodriquez ’11 SAM Art Projects, Elena Bajo ’06 Northridge ’00, and Patricia Treib ’11. (November 29, 2011) Askeaton The Danish Villa Raffet, Paris American Austrian The Loomis Institute, Contemporary Arts, Art Workshops, Headlands MassArt Winter Asim Waqif ’11 Triangle Arts Foundation, AAF Prize Palmer Fellowship Watts House Project founder Edgar Arceneaux ’99 led a tour Welcome to the Copenhagen Center Garden, Boston, MA Association, for Fine Arts Jennifer McCandless ’95 of the neighborhood followed by a pot-luck with residents. Neighbourhood, Mie Olise for the Arts, Caitlin Berrigan ’08 Sculpture Brooklyn, NY Matthew Wilson ’10 Limerick, Ireland Kjaergaard ’09 Sausalito, CA Space, Utica, NY Jonathan Ehrenberg ’11 Los Angeles, CA. (October 22, 2011) Ben Kinsley ’06 Emily Mast ’06 Nes Artist Jessica Segall ’10 Louisiana Division of the Arts, El Zaguan Residency, Vermont Studio Blanche E. Colman Award Career Development Grant Atlantic Center Historic Santa Fe International Skagaströnd, Serie Project Center, Johnson, VT N. Sean Glover ’03 Shawne Major ’92 for the Arts, Foundation, Mexico Studio & Iceland XIX, Coronado Mike Calway-Fagan ’11 New Smyrna, FL Max-Carlos Martinez ’97 Curatorial Jayoung Yoon ’10 Studios, Austin, TX CONVERSATIONS Wanda Program, Michael Menchaca ’11 Virginia Center BRIC Media Center Fellowship Maryland State Arts Council, Raimundi-Ortiz ’02 European Ceramic Brooklyn, NY The Pew Center for the Creative SIM, The Rachel Frank ’05 Individual Artist Award in Work Center, Keren Benbenisty ’09 for Arts and Arts, Fellow Photography The Association For the Advancement of The Banff Centre Den Bosch, Netherlands Heritage, White Association of in Residence, Icelandic Visual Helen Glazer ’75 Creative Cinematic Maladjustment for the Arts, Juana Valdes ’95 Islip Art Museum, Box Residency, Amherst, VA The Center for Cultural Alberta, Canada Carriage House, Philadelphia, PA Artists, Reykjavik Charles A. McGill ’87 A conversation between Cauleen Smith (A ’07, F ’12) and Fine Arts Corey J. Willis ’03 Innovation, ARC Grant Elena Bajo ’06 Paul Santoleri ’91 Anthony Emily Mast ’06 Massachusetts Greg Tate on the occasion of Dr. Martin Luther King, Jr.’s birthday, Work Center, Campuzano ’00 The Wassaic Bemis Center Provincetown, MA Kala Art Institute, Smack Mellon Project, New York Cultural Council, at the New Museum, New York, NY. for Contemporary Mike Calway-Fagan ’11 Project Space, Prattsville Artist Studio Catherine Fairbanks ’11 Fellowship in Painting (January 15, 2012) Arts, Omaha, NE Heather Hart ’05 Berkeley, CA Residency, Program, Tomoe Tsutsumi ’10 City University of New York, Sophia Ainslie ’01 Amy Brener ’11 Jennifer Sullivan ’11 Lydia Greer ’08 Prattsville, NY Brooklyn, NY PSC-CUNY Research Award Marisa Mandler ’10 Shana Moulton ’04 The Workshop Sarah Haviland ’85 Columbus Fondazione Land Art Mongolia, Monika Sziladi ’08 Residence, Minnesota State Arts Board, Consciousness Raising in Contemporary Culture Artist Initiative Grant State University, Antonio Ratti, Gobi Desert PS122 Gallery, San Francisco, CA A conversation with Marlene McCarty (F ’11) and River Fellow Como, Italy Jessica Segall ’10 Studio Residence SOMA Summer, J.D. Beltran ’98 Columbia College, Chicago, William Cravis ’04 Artist in Matthew Wilson ’10 Program, New York Mexico City Faculty Development Grant Christine Vachon, at Third Streaming, New York, NY. Residence, The Lighthouse Tara Pelletier ’09 Ahram Jeong ’10 Yaddo, Saratoga Marilyn Propp ’69 (April 11, 2012) Columbus, GA Franconia Works Residency, Springs, NY Oregon Arts Commission, Claire Zitzow ’11 Sculpture Park, Fishers Island, NY Rijksakademie Becca Albee ’99 Individual Artists Fellowship Jerome Fellow, Maya Hayuk ’11 van beeldende Rachel Frank ’05 The Department of Erik Geschke ’96 Schafer, MN Shara Hughes ’11 Kunsten, Elizabeth Hazan ’91 Cultural Affairs, Chicago, Jessica Segall ’10 Amsterdam MaryKate Maher ’08 Cultural Arts Grant Crystal Z Campbell ’03 Gabriela Salazar ’11 Anna Kunz ’09 Portland State University, Professional Development & Travel Grant Foundation For Contemporary Erik Geschke ’96 Faculty Appointments Art, Emergency Grant Jessica Segall ’10 Saint Botolph Club American University, Columbia Pratt Institute SUNY, University Foundation, Emerging Washington DC University, of Art and Design, University of Illinois Franconia Sculpture Park, Artist Award Ben Kinsley ’06, New York, NY Brooklyn, NY at Buffalo, at Chicago, Open Studio Artist John C. Gonzalez ’08 Professorial Lecturer, Jessica Segall ’10, Philip Ayers ’72, Buffalo, NY Chicago, IL MaryKate Maher ’08 Media/New Practices Assistant Professor, Associate Professor Joan Linder ’99, Matthew Metzger ’09, Drawing Associate Professor Assistant Professor Bethel University, Princeton University, US Embassy in Paris, Cultural Studio Arts St. Paul, MN CUNY, Borough Princeton, NJ Texas State The Graham Envoy, Debre Hospital David Rich ’74, of Manhattan Louis Cameron ’96, Lecturer University, University of Foundation, Project Paul Santoleri ’91 Visiting Artist Community College, San Marcos, TX North Carolina, Grant for Shifter Magazine Pace University, New York, NY Jules Jones ’11, Greensboro, NC Matthew Metzger ’09 Central Oregon New York, NY Skowhegan Governor, Marlene McCarty (F ’11) and producer Sarah Haviland ’85, Adjunct Lecturer David Rich ’74, Sreshta Rit Premnath ’09 Wave Hill, Van Lier Visual Community College, Louis Cameron ’96, Adjunct Christine Vachon discussing culture, radical politics, and family Associate Professor Visiting Artist Artist Fellowship Bend, OR Associate Professor University Nova Jiang ’09 life at Third Streaming in April 2012. William Cravis ’04, Maryland Institute of Colorado, Universidad School of the Art Hallie Ford Foundation Grant Full-Time Faculty College of Art, Boulder, CO Torcuato Di Tella, Institute of Chicago, Ellen Lesperance ’99 Baltimore, MD Claire Zitzow ’11, Buenos Aires Columbia College, Chicago, IL Lauren Adams ’09, Visiting Faculty Alejandra Seeber ’00, Chicago, IL Samantha Bittman ’11, Professor of Art Art Program A n n a Ku nz ’0 9, S e nio r Le c tu re r Part-Time Faculty Painting Course

35 36 · Anoka Faruqee · Nancy M. Cohen Support Elizabeth Goldberg · Tilda E. Colsman Scholarship Grants Joanne Greenbaum · Maurice Colton III Kate Haw Marella L. Consolini · Ralph Helmick · W. Barrie Cooke A cornerstone of Skowhegan’s success is our confi dential Thank You! Thurston and Sharon Twigg-Smith Mr. and Mrs. Peter O. Elizabeth R. Hilpman William S. Cottingham admissions process, and our fi rm commitment to providing Michael Werner Gallery Lawson-Johnston Jr. Susan Kahaner · Heather Cox Wade Wilson The Lunder Foundation · Alex and Ada Katz · Megan Cump scholarship aid to any accepted artist who could not otherwise Unrestricted gifts sustain Skowhegan’s programs and operations, and Catherine MacMahon · David J. Knoebel · Erin Curtis ensure the artists working with us have the things they need, from alizarin afford to attend. The egalitarian nature of the program allows $500 – $999 Madison Business Gateway, Charles and Naomie Kremer · Alec Dartley crimson pigment to zucchini bread, and everything in between. Skowhegan’s Skowhegan, and all of our funders, to invest in the future of E.B. Alexander Town of Madison · Charles Marburg · Jacqueline Davidson fl exible pedagogical framework and responsive campus environment means Mr. and Mrs. Charlton H. Ames · Virgil M. Marti, Jr. and Edward Messikian · Mary DeWitt artmaking by bringing the most talented and groundbreaking that we don’t know in June what will happen in July. This is a fundamental Sean Anderson, Peter Barbarie · Rebecca A. Miller Mr. and Mrs. Aaron M. Diamond characteristic of the program, and it is made possible by the individuals, artists together, regardless of their fi nancial status. In 2012, James Cohan Gallery Richard Massey Alix Pearlstein and · David Michael DiGregorio corporations, and foundations listed below that generously contributed to Sarah Bacon Anthony Meier · Bill Adams · Paul Divone scholarships were provided to 92% of participants. Skowhegan Skowhegan over the past year. The Florence V. Burden Foundation Paul Morris, The Armory Show Lindsay Pollock and · James Dowdalls is deeply grateful to the following foundations and individuals · denotes Skowhegan alumni at the recommendation of · Carrie Moyer Andrew Zarnett · Craig Drennen for generously providing the gifts which sustain this policy. Foundation Directors Ordway · Bonnie S. Newman · Rhoda Ross · Aaron Dubrow $30,000 + $1,000 – $4,999 and Jean Burden Wendy Olsoff, PPOW Gregory and Jeanine Rush · Jennifer Dudley Mildred C. Brinn, L & L Foundation 303 Gallery Steve Cannon, · Hunt Slonem · Cathy A. Sarkowsky · Christopher Dunbar H. King & Jean Cummings Eleanor Acquavella A Gathering of the Tribes · Shinique Smith and · Binod Shrestha · Christopher Duncan $25,000 and above Charitable Trust Camilo Alvarez, Samsøn Mrs. Iris Cantor · Gary Pennock · Marc Swanson and · Onda F. D’Urso The Brown Foundation Wilson and Eliot C. Nolen Marianne Boesky Gallery · Francis Cape and Katie and Jonah Sonnenborn Joe Mama-Nitzberg · Ellen Levine Ebert The National Endowment for the Arts Greg and Susie Palm, Bowdoin College Museum of Art · Liza Phillips Elizabeth Strong-Cuevas · Kim Turos · David J. Einstein The Palm Foundation Grace and Sam Bowman Purdy and Josh Eaton · Fabian G. Tabibian Ursula von Rydingsvard · Sara Eliassen Edye and Eli Broad, · Laura Lobdell and Darrel Flanel Sarah Frances Workneh · Constance Walsh · Abraham Elterman $20,000 – $29,999 The Broad Art Foundation Peter Frey Constance Evans $10,000 – $24,999 Jan Aronson and Sharon Corwin, Colby College Katherine Gass $250 – $499 Up to $249 · Hersha Evans D. Capobianco & Elfi Schuselka Edgar M. Bronfman Museum of Art James Goodman Gallery · Ellen Altfest · Sigmund Abeles · Catherine Fairbanks Gesso Foundation · Deborah Jones Buck Warren and Brammie Cook Deborah Harris, The Armory Show John J. Anselmi Abigail Kirsch Farnsworth Art Museum The Horace W. Goldsmith Foundation Agnes Gund Rackstraw Downes Eileen Kaminsky · Dike Blair Catering Relationships Rochelle Feinstein Pierre and Tana Matisse Foundation Ann and Graham Gund Barney A. Ebsworth Jenette Kahn Rebecca J. Cook Vito Acconci · Amy Feldman Mr. and Mrs. Judson P. Reis, Elizabeth Finch, Colby College Buff Suzanne Kavelman Joshua David and · Frederick C. Albee Jr. · Sara Ferguson The Sire Foundation Museum of Art June Kelly Gallery Robert Hammond · Diana Al-Hadid · Ruth Fine $5,000 – $9,999 Lisa and Reuben Richards · Susan Paul Firestone · Byron Kim and · Elizabeth D. Dovydenas Are You Ready to Party?? Thomas Finkelpearl Sumner Scholarship Endowment Foundation, Inc. Alan Wanzenberg Helen Frankenthaler · Lisa Sigal · David Driskell · Mary A. Armstrong · Jeanette Fintz Gardner Russo & Gardner Kyes Insurance Linda Earle Richard Armstrong · Rosemarie Fiore $10,000–$19,999 Robert and Rae Gilson Stephanie LaNasa · Dr. Richard A. Entel Artist & Craftsman Supply · David Flaugher $1,000 – $4,999 George W. Ahl III Alexander Gray and · Wendy F. Lang Marie and John Evans Atlantic Trophy Fleisher/Ollman Gallery Melva Bucksbaum & Raymond Learsy · David Beitzel and David Cabrera · Nathaniel Axel · Robert N. Flynt The William T. Kemper Foundation, as recommended Darren Walker John J. Hannan · Pasqualina Azzarello · Rachel Frank by Laura & Michael Fields Lynda Benglis Jim Hodges · Elena Bajo · Kathryn Freeman Eleanor Revson Christie’s · Tonya and Kempton Ingersol · Paul Banas · Lynda Frese Bailey W. Symington Andrea Crane · Matthew Jackson Matching Tuition Schools · Elliot Bassman · Robert Gainer Chiara and Ben Edmands · Meredith James Bates College Museum of Art · Lilian Garcia-Roig Larry Gagosian · Dr. Shoichi Kajima · Ken Beck · Adu A. Gindy Endowed Scholarships Hauser & Wirth Joyce Kozloff In 2012, scholarships were provided by the following schools so that Madeleine Bennett · Leslie A. Golomb Bingham Scholarship Mary M. Looker Thomas W. Lentz, Harvard current students and in some cases alumni could attend Skowhegan. · Christy Bergland · Tracey Goodman Camille Cosby Scholarship Robert L. Looker University Art Museums · Michael Berman · Asuka Goto Donald & Doris Fisher Scholarship The Looker Foundation Frances Lewis · Margaret Bernstein · Philip M. Grausman Gober-Moffett Scholarship Victoria Love Salnikoff Toby D. Lewis California Institute of the Arts Kathryn Berry Dr. Vivien Greene Ann & Graham Gund Scholarship Donald Moffett and Arthur L. Loeb Carnegie Mellon · Michael Biddle Greenhut Galleries George Gund Scholarship Robert Gober Marlborough Gallery Columbia University Lotte Blaustein · Iva Gueorguieva Alex Katz Scholarship Dan Neidich, Dune Real Deirdre McBreen · Sandra F. Blum · David G. Hacker Jacob & Gwendolyn Lawrence Scholarship Maine College of Art Estate Partners Jennifer McSweeney · Mara Bodis-Wollner Jane Hammond Peter Lewis Scholarship Richard T. Prins and Bridget Moore and Chris Kotowski, Maryland Institute College of Art · Susan M. Boscarino · Bang Geul Han Toby Fund Scholarship Connie Steensma DC Moore Gallery Minneapolis College of Art and Design · Douglas Bosch · Heather Hart Don F. Turano Scholarship · Elizabeth Sidamon-Eristoff Amy Newman and Bud Shulman New York University · Astrid M. Bowlby A. Peter and Karla A. Harwich Wallace-Reader’s Digest Scholarship Sotheby’s Jean-Yves Noblet and Rhode Island School of Design Katherine Bradford · Lynne Harwood W & M Zorach Scholarship W.L.S. Spencer Foundation Michael Trese Rutgers University · Brian Bress · Connie Hayes John W. Payson · Sara Bright · Maya Hayuk School of the Art Institute of Chicago $5,000 – $9,999 · Sheila Pepe · Suzanne Broughel · Paula S. Heisen Colección Patricia Phelps Thomas Phifer School of Visual Arts · Ashley F. Bryan · Stephen Hendee de Cisneros Portland Museum of Art State University of New York, Purchase · Nao Bustamante · Michael Henderson The Ronald and Jo Carole Marina S. Purcell Tyler School of Art, Temple University Caldbeck Gallery · Carol Hendrickson Lauder Foundation David Rockefeller University of Georgia, Athens · Ingrid Calame Heritage House Restaurant Dorothy Lichtenstein David and Susan Rockefeller University of Iowa, Iowa City · Anthony Campuzano Jr. · Shelley Herman Anna Marie and · Kenneth Rush Jr. · Jennifer Sullivan Carney Jason Herrick University of Pennsylvania, Philadelphia Robert F. Shapiro Mary Sabbatino, Galerie Lelong · Heather Carson · Corin Hewitt Sikkema Jenkins & Sue Scott and Mike Stanley University of Tennessee, Knoxville Center for Maine Contemporary Art · Ulrike Heydenreich If you are interested in learning more about how to endow a Skowhegan Co., New York Mr. and Mrs. Peter L. Sheldon University of Wisconsin, Madison Century Direct · Suzanne Hodes scholarship, or support a current participant, please contact Marie Weller Eugene V. Thaw Virginia Commonwealth University · David Coggins · Stephen Hoke at [email protected] or 212.529.0505.

37 38 Bryan Holmes · Ann Oren Gifts in Honor & Memory of · Peter James Hoss · Helen O’Toole Awards Dinner · John Houck Katie and Lew Ouilette · Jeremiah Hulsebos-Spofford · Jill Pangallo $10,000 + · Noah Klersfeld · Bryan Elliott Hundley The Paper Klip On April 24, 2012, Skowhegan hosted its Annual Awards Dinner in New York City which was attended by over 350 alumni, faculty artists, · Anonymous in memory of Edward Klersfeld In Bloom New York–Floral · Herbert Parsons philanthropists, and friends. Skowhegan Medals were awarded to artists Luis Camnitzer, Mary Heilmann, and Kara Walker, and the Governors’ & Special Events Bruce Pearson in memory of Estella Lackey (A ’92) Libbie J. Masterson · Michael L. Jackson Steven Perelman Award for Outstanding Service to Artists was given to Exit Art. Save the date for the 2013 Awards Dinner on April 9th in New York City. in memory of Margaret Skidmore $501 – $2,500 · Julia Jacquette · Charlotte Present · Richard P. Miller Vandorn Johnson PS New York Mr. and Mrs. George Beitzel in memory of Henry Varnum Poor · A. Jane Johnston · Jon Rajkovich in honor of David Beitzel (A ’82) and the class of 1960 James D. Julia Auctioneers · David F. Reed · Daphne Cummings · Yoshiko Kanai · Daniel Rich · Susan Miller in honor of Kate Haw · Annetta Kapon · Blithe Riley in memory of Betty Miller · Nils Karsten · Angela Ringo Lucia Kellar · Heidi Nitze · Nancy Modlin Katz · Christopher Robbins in memory of Henry W. Grady in memory of Margaret Day Blake · Matt Kennedy · Jacque Rochester · McKendree Key · Paco Rodriguez Up to $500 Jacqueline Sackler · James Kielkopf · Wendy and Dan Rowland in honor of Chiara Edmands Adam Aronson · Patrick Killoran · Sara Saltzman in honor of Jan Aronson · Mary Salstrom · Becky Kinder · Claudia Sbrissa · Joan Branca in memory of Al Blaustein (A ’46, · William King · Ralph Scarcelli in memory of Joseph Branca ’53; F ’69, ’70, ’81), Bill Midgette · Benjamin Kinsley · Carrie Schneider 01 02 03 04 (A ’53, ’54, ’59; F ’76, ’77), and · Candace Knapp · Robert Michael Scoggins Jr. Charles Bronfman & Rita Mayo Susan Shatter (A ’64; F ’77, ’70) · Robert S. Koffl er · Abigail Shahn in honor of Jan Aronson & · Melanie Kozol · David Shapiro · Margo Sawyer Edgar M. Bronfman · Elaine Taylor Krogius · Adam Shecter in memory of Linda Adair Day Elise Gardella · Anna Kunz · Anne Kesler Shields in memory of Letty Gardella · Jose Smith · John Landewe · Arthur Simms in memory of Priscilla Carrasquillo Heidi Lange · Alan Singer Larry W. Gray · Liz Magic Laser · A.J. Smith Jr. in honor of Bill Holmes · David Leggett Michael Smith · Suzanne Ragan Lentz · Ellen M. Soffer If you would like to make a gift in memory of someone, or include Skowhegan in your estate · Margaret Libby · Miyoung Sohn planning, please contact Marie Weller at [email protected] or 212.529.0505 · Joan Linder · Kathleen Soles · Sandy Litchfi eld Andrew Solomon 05 06 07 08 · Nan Hall Lombardi · Molly Springfi eld · Nicola Lopez · Kimberly Squaglia Angela Lorenz · Mitchell Squire The Alumni Challenge: · Tristin Lowe · Aaron T. Stephan Michael N. Ludwig · Luke Stettner Help Skowhegan Succeed in 2012 · Yvonne Lung Barbara Sullivan · Robert MacDonald · Monika Sziladi · Penelope Harbage Manzella · Mary Temple Trustee and Alumnus Suzanne McClelland Marden, Dubord, · Hank Willis Thomas David Beitzel Dave McKenzie Bernier & Stevens · Barbara Campbell Thomas · Monica Martinez · Niels Thorsen and Governors Donald Moffett · Emily Mast Towne Motel Daniel Bozhkov Carrie Moyer · Vladimir Matijko · Nicole Tschampel 09 10 11 12 · Francis Cape Natasha Mayers Dr. and Mrs. Alexander Turbyne Alix Pearlstein · Jane E. McClintock · Susanna G. Vapnek Daphne Cummings Paul Pfeiffer Sarah McEneaney · Maria Walker · Richard Haas Miko McGinty Richard T. Walker Allen Ruppersberg · Dave McKenzie · Sandy Walker Jane Hammond Alison Saar · Nathaniel Meade Ware-Butler, Inc. Lumber · Byron Kim Emil A. Mellow II & Building Supply Beverly Semmes Melissa Meyer Dorsey Waxter Joyce Kozloff Lisa Sigal MF Productions · Danielle C. Webb · Iñigo Manglano-Ovalle Ander Mikalson Kate Werble Marc Swanson · Tracy Miller · Allison K. Wiese Fabian Marcaccio Julianne Swartz · Wesley Miller · Abbey Williams and · · 13 14 15 16 Marlene McCarty Jennifer Monick and David Hardy William Wegman · Gedi Sibony · Matthew Wilson · Ann-Michele Morales · Gerald Wolfe will match up to $10,000 in alumni contributions for gifts made · Shana Moulton Cecilia and Ira Wolfson 01 Kara Walker, Luis Camnitzer, Mary Heilmann, Sarah Workneh, Papo Colo, Katie Sonnenborn, Maria Elena Gozález, and Kathy Halbreich; 02 Eugenie Tsai, between October and December 2012. Nicholas Baume · Randy Wray Fred Wison, Susan Firestone, and Tom Finkelpearl; 03 Jud Reis and David Driskell with the 2012 Awards Dinner mug; 04 Alexander Gray, Marc Swanson, · Catherine Murphy · Eva Wylie Joe Mama-Nitzberg, Luis Camnitzer, and David Cabrera; 05 Cheryl Donegan, Amy Sillman, and Stephen Westfall; 06 Ann Gund; 07 Maria Elena González Each alumni who contributes will be eligible to win one of fi ve · Eliza Myrie · Gordon Yee and Sonia Lopez; 08 Meredith James and Marlene McCarty; 09 Barbara Lapcek, Jennie C. Jones, Kara Walker, and Daniel Bozhkov; 10 Lois Dodd, seats at a dinner with fi ve Skowhegan Governors at the home · Eliza Newman-Saul · Hong Zhang David Reed, and Lillian Ball; 11 Ken Landauer, Patrick Killoran, Sara Nadal, Anoka Faruqee, and David Driscoll; 12 Michael Ludwig, Nataliya Slinko, Andrew of Byron Kim and Lisa Sigal. · Jann Nunn Deutsch, and Jennifer Sullivan; 13 Phong Bui and Kathy Halbreich; 14 Carmen Winant, Arthur Simms, and Lucy Fradkin; 15 Sanford Biggers and Sarah Sze; · John O’Connor 16 Catherine MacMahon, Bill Holmes, and Chiara Edmands Join them today, and make a gift online at www.skowheganart.org (click SUPPORT). · Beryl Odette

39 40 Trustees’ and Governors’ Weekend In Memorium

Trustees, Governors, alumni, neighbors, and friends came together in Maine, July 20–22, for a weekend celebration of Skowhegan’s program. Hugh Gourley, Director of the Colby Museum (1966–2002), Robert Looker, Sr., husband of Trustee Mary Looker, father of Highlights included the revelrous costume ball, a lecture by Arlene Shechet, dinner at Red Farm, fresco workshops, studio visits, and beautiful Skowhegan Trustee (2004–2009) and Advisory Committee Trustee Robert Looker Jr., and founder of The Looker Foundation, an weather, three days straight! member (1971–2004). March 12, 1931 – July 25, 2012 instrumental Skowhegan supporter. August 30, 1922 – June 28, 2012

Henry W. Grady, a Skowhegan Trustee (1968–1993), board Stephen Mueller, painter and Skowhegan alumni (1968) whose work Treasurer (1975–1978) and Vice President (1986–1993). is represented in the collections of the Whitney Museum of American 1925 – November 16, 2011 Art, the Brooklyn Museum, the Denver Art Museum, and the Museum of Fine Arts, Houston. September 24, 1947 – September 16, 2011

Boards & Staff

01 02 03 04 BOARD OF TRUSTEES BOARD OF GOVERNORS GOVERNORS EMERITI YEAR-ROUND STAFF Archive Ann Gund, Chair Dave McKenzie (A ’00), Chair Lois Dodd Christopher Carroll (A ’08), Elizabeth Mooney, Archivist Gregory K. Palm, President Maria Elena González, William King (A ’48, ’51, ’52) Program Coordinator Food & Residence Service Richard T. Prins, Treasurer Vice Chair Elise Gardella, Waneeta Marquis, Emma Amos Offi ce & Board Susan Paul Firestone (A ’72), ADVISORY COMMITTEE Chef and Food Service & Secretary Janine Antoni Relations Manager Douglas S. Cramer Residence Manager George W. Ahl III Donald Baechler William Holmes, Philippe de Montebello Scot Hampton, Jan Aronson Daniel Bozhkov (A ’90) Campus Grounds & David Driskell (A ’53) Maintenance Manager Assistant Chef David Beitzel (A ’82) Francis Cape (A ’89) Kathy Halbreich (A ’65) M.E. Malone, Shawn Thornton (A ’02), Marianne Boesky Mel Chin Baker John L. Marion Administrative Assistant Grace G. Bowman Daphne Cummings (A ’82) Carol Campbell Kynaston McShine Katie Sonnenborn, Mildred C. Brinn, Martha Diamond Pamela Fuller 05 06 07 08 Richard E. Oldenburg Co-Director Chair Emeritus Anoka Faruqee (A ’95) Patrick LeClair Linda Shearer Marie Weller, Warren C. Cook Janet Fish (A ’61) Jonathan Logan Lowery Sims Development Manager Andrea Crane Guy Goodwin Sarah Workneh, Cailee Manzer Chiara Edmands Richard Haas Co-Director Alisha Rose Marquis Robert Gilson Jane Hammond ALLIANCE Eve Payne Tonya Ingersol (A ’02) Yvonne Jacquette Pasqualina Azzarello (A ’08), 2012 SUMMER STAFF Chelsey Peters Mary M. Looker Bill Jensen Co-Chair Program Coordinator George Daniel Watts Robert L. Looker Byron Kim (A ’86) Adam Shecter (A ’06), Katherine Leisen Justin Williams Victoria Love Salnikoff Joyce Kozloff Co-Chair Dan Wininger Libbie J. Masterson Tommy Lanigan-Schmidt Alan Calpe (A ’06) Deans Craig Drennen (A ’06) Wilson Nolen Whitfi eld Lovell (A ’85) Andrea Chung (A ’08) Nataliya Slinko (A ’10) Grounds & Maintenance 09 10 11 12 Judson P. Reis Rick Lowe Esteban del Valle (A ’11) Peter Campbell, Gardener Eleanor W. Revson Rachel Frank (A ’05) Iñigo Manglano-Ovalle Fresco Kevin Flanagan, Carpenter Lisa Richards Fabian Marcaccio David Hardy (A ’04) Nicholas Sean Glover (A ’03), Larry Gray, Grounds Staff Robert F. Shapiro Kerry James Marshall Maya Hayuk (A ’11) Instructor Peter Jillson, Grounds Staff Alan Wanzenberg Marlene McCarty Vera Iliatova (A ’04) Nadia Ayari (A ’06), Assistant Ron Pinkham, Grounds Staff Suzanne McClelland Becky Kinder (A ’04) Noah Klersfeld (A ’03) Library TRUSTEE EMERITUS Donald Moffett 2012 Journal Design Carrie Moyer (A ’95) Ellie Krakow (A ’08) Meredith Gaglio, John W. Payson psnewyork.com Alix Pearlstein Dan Levenson (A ’09) Head Librarian Paul Pfeiffer Katie Mangiardi (A ’07) Judith Stoodley, Librarian Howardena Pindell Lilly McElroy (A ’06) Media Lab David Reed (A ’66) Eliza Newman-Saul (A ’05) 13 14 15 16 Christopher Carroll (A ’08), Allen Ruppersberg Jeanine Oleson (A ’00) Media Lab Manager Alison Saar Jill Pangallo (A ’10) Lilly McElroy (A ’06), Meridith Pingree (A ’03) 01 Libbie Masterson, Sarah Workneh, Sheila Pepe, and Lee Cummings; 02 Arlene Shechet and Donald Moffett; 03 Fresco Barn with installation by Jack Beverly Semmes (A ’82) Media Associate Pavlik; 04 Carrie Moyer, Dike Blair, and Sheila Pepe; 05 Rick Prins in the Fresco Studio; 06 Lunch in the Fresco Barn; 07 David Beitzel and Michael Lisa Sigal (A ’86) Birgit Rathsmann (A ’04) Taylor; 08 Susan Firestone and Katie Sonnenborn; 09 Abby Shahn and Dozier Bell; 10 Performance by Mary Vettise at Red Farm Dinner; 11 Loid Dodd, Kiki Smith Blithe Riley (A ’09) Returning Emma Amos, and guests; 12 Mildred Brinn and Yvonne Jacquette; 13 Cocktails at the Red Farm Dinner; 14 Maya Hayuk, Marlene McCarty, and Sean Robert Storr (A ’78) Carrie Schneider (A ’07) Sculptural Fellow Glover; 15 Carrie Moyer, Elizabeth Mooney, Nadia Ayari, Sean Glover, Craig Drennen, and Kate Gilmore; 16 Cauleen Smith and Virgil Marti Marc Swanson (A ’00) Michael Scoggins (A ’03) Matt Ager (A ’11) Julianne Swartz (A ’99) Fabian Tabibian (A ’10) William Wegman Nicole Tschampel (A ’01) Fred Wilson

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

Non-Profi t Org. U.S. Postage PAID New York, NY 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.

2013 Session June 8 – August 10, 2013

Application opens Resident Faculty Visiting Faculty Paul Mellon November 2012. Matthew Brannon Charles Atlas Distinguished Fellow Due February 1, 2013. Marie Lorenz Dona Nelson Kate Valk Sheila Pepe Trevor Paglen RELAX Reggie Watts (chiarenza & hauser & co) Mickalene Thomas

List as of September 2012, additional Visiting Faculty to be announced.

42