Art and Design Lecture Series
Ed Schad is Curator and Publications Manager at The Broad in Los Angeles and has worked for the organization for 13 years. He recently opened his most recent curated exhibition Shirin Neshat: I Will Greet the Sun Again and has also curated Jasper Johns: Something Resembling Truth, Carlos Cruz-Diez's public installation Couleur Additve, as well as co-curated group exhibitions titled, respectively, Creature, Oracle, and a Journey that Wasn't. Ed's writing has been included in Art Review, Frieze, Modern Painters, Flash Art, The Brooklyn Rail, Glasstire, The L.A. Weekly, Truthdig, and the Los Angeles Review of Books. In addition, he has contributed essays to mono-graphic catalogs on the work of Shirin Neshat, Robert Irwin, Sterling Ruby, Kaz Oshiro, Annie Lapin, Albert Contreras, Raimons Staprans, Charles Garabedian, Pieter Vermeersch, and Liat Yossifor. He teaches writing at Claremont Graduate University.
Adam Chau is an artist and designer working in New York and is currently the Museum Manager at Hudson Valley MOCA. An Industrial Design graduate of the School of the Art Institute of Chicago, Adam's creative body of work combines digital fabrication with traditional studio ceramics; he published this research in Ceramics Technical, Ceramics Art and Perception, Studio Potter, and Ceramics Monthly. In 2018 he was awarded the NCECA Emerging Artist Award and is currently a member of the International Academy of Ceramics.
William (Will) Wilson is a Diné photographer who spent his formative years living in the Navajo Nation. Born in San Francisco in 1969, Wilson studied photography at the University of New Mexico (Dissertation Tracked MFA in Photography, 2002) and Oberlin College (BA, Studio Art and Art History, 1993). In 2007, Wilson won the Native American Fine Art Fellowship from the Eiteljorg Museum, and in 2010 was awarded a prestigious grant from the Joan Mitchell Foundation. Wilson has held visiting professorships at the Institute of American Indian Arts (1999-2000), Oberlin College (2000-01), and the University of Arizona (2006-08). From 2009 to 2011, Wilson managed the National Vision Project, a Ford Foundation funded initiative at the Museum of Contemporary Native Arts in Santa Fe, and helped to coordinate the New Mexico Arts Temporary Installations Made for the Environment (TIME) program on the Navajo Nation. Wilson is part of the Science and Arts Research Collaborative (SARC) which brings together artists interested in using science and technology in their practice with collaborators from Los Alamos National Laboratory and Sandia Labs as part of the International Symposium on Electronic Arts, 2012 (ISEA). Recently, Wilson completed an exhibition and artist residency at the Denver Art Museum and is currently the King Fellow artist in residence at the School of Advanced Research in Santa Fe, NM.
Tatiana Istomina is a Russian-born multi-media artist and writer living in New York. Her projects have been featured in exhibitions across the United States and abroad, including the Moscow Museum of Modern Art, Blue Star Contemporary, The Drawing Center, the Bronx Museum, Gaîté Lyrique, and the Haus der Kulturen der Welt. She is a recipient of numerous awards, including the AAF Prize for Fine Arts, a Joan Mitchell Foundation grant, Ruth and Harold Chenven Foundation grant, Puffin Foundation grant, and the Spillways Fellowship. Istomina holds a PhD in Geophysics from Yale University and an MFA from Parsons New School. She is also a contributor to several art magazines, including Art in America, Hyperallergic, and Brooklyn Rail.
Christie Blizard was born in rural Indiana, and lives and works in Texas. She was a participant of Skowhegan last year and has attended MacDowell and Artpace. Shows include those at the Contemporary Arts Museum Houston, School of Visual Arts, Black Mountain College, Good Morning America, the Roswell UFO Convention, and the Today show. She has been featured in Hyperallergic, ArtNews, Art in America, and NY Arts Magazine. She is currently working on a parallel universe rodeo opera.
Becky Duval Reese
Former Director of the El Paso Museum of Art (1991-2005), Becky Duval Reese oversaw the completion of a new 104,000 sq. ft. building located in downtown El Paso. During her tenure the museum’s collections grew by more than 1,000 objects. Her achievements resulted in a museum nationally recognized both for the strength of its collections and for its new building. She is a recipient of the “Women of Influence” award from the National Council of Jewish Women and was inducted into the El Paso Women’s Hall of Fame. She is a former member of the Association of Art Museum Directors; the boards of the Mid-America Arts Alliance, Kansas City, Missouri and the Center for Lifelong Learning at the University of Texas at El Paso.
Miguel A. Aragón
(b. 1978, Juárez, México) lives and works in New York City, where he is an Assistant Professor in Printmaking at the CUNY College of Staten Island. Aragón has exhibited extensively nationally and internationally through solo and group exhibitions; he has received numerous awards and prizes including invitations to participate in Artist Residencies in the USA and Germany. His work has also been published in numerous catalogs and books such as: Peenemünde Project: Geschichte wird Kunst / Imprinting History by Dr. Philipp Aumann and Dr. Till Richter (2017), which catalogs artwork created during a residency at the WWII era power plant in Peenemünde where he explored the history of the Nazi-era slave labor missile research center, and A Survey of Contemporary Printmaking by Matthew Egan, Michael Ehlbeck and Heather Muise (2012). His works explore subjects of violence, transient and/or persistent memory, perception and the multiple; he uses erasure as language through the use of processes that are reductive in nature. Aragon’s work is included in various private and public collections such as the Museum of Fine Arts Boston, Minneapolis Institute of Art and the National Museum of Mexican Art in Chicago among others.
Jessi Reaves (b.1986) earned her BFA from Rhode Island School of Design, Providence, RI in 2009. Her practice centers on furniture and sculpture, rupturing traditional binaries of the functional and the aesthetic. Reaves has presented recent solo exhibitions at Bridget Donahue, New York; The Aldrich Contemporary Art Museum, Ridgefield; and Herald St, London. Her work has recently been featured in group exhibitions nationally and internationally, including the Carnegie International, 57th Edition, Carnegie Museum, Pittsburgh, PA; Eckhaus Latta: Possessed, Whitney Museum of American Art, New York, NY; SI ONSITE, Swiss Institute, New York, NY; Ginny Casey and Jessi Reaves, Institute of Contemporary Art Philadelphia, Pennsylvania; Whitney Biennial 2017, Whitney Museum of American Art, New York, NY, among others.
Jenny Gheith is the Assistant Curator of Painting and Sculpture at the San Francisco Museum of Modern Art. Gheith has curated and co-curated solo exhibitions and commissions with artists Rodney McMillian, Park McArthur, Leonor Antunes, Jessica Stockholder, Spencer Finch, Alicia McCarthy, Chris Johanson, Alessandro Pessoli, Liam Everett, Zarouhie Abdalian, Josh Faught, and Kateřina Šedá, among others. She has contributed to several collection-based exhibitions, having curated A Slow Succession with Many Interruptions and serving on the curatorial team for Nothing Stable under Heaven. Previously, Gheith was Program Director for the Society for Contemporary Art and Curatorial Assistant at the Art Institute of Chicago, where she managed the focus exhibition series featuring artists James Bishop, Mel Bochner, Monica Bonvicini, Vincent Fecteau, Richard Hawkins, and William Pope.L, among others.
Formed in Sydney in 2002, Soda_Jerk (siblings Dominique and Dan Angeloro) is a 2-person art collective that approaches sampling as an alternate form of history-making. Working at the intersection of documentary and speculative fiction, their archival practice takes the form of films, video installations, cut-up texts and lecture performances. Soda_Jerk are based in New York where their work was recently shown in a dedicated program at Anthology Film Archives. They have collaborated with collectives VNS Matrix and The Avalanches, and exhibited in museums, festivals, cinemas and torrent sites.
Ziddi Msangi is a designer and educator. He was born in Tanzania and moved to California as a child. This early experience fostered an awareness and curiosity about history, power and place. Cultural interpretation, and placing the narratives that form identities into a social, historical, and cultural context have influenced how Msangi teaches and designs. He is interested in the liminal space that is created between what we understand our reality to be and the multiple narratives that form that perception. Community engagement and teaching Universal Design principles of inclusion are important positions that Msangi promotes in undergraduate teaching when applicable. His current visual research and exploration is about the form and meaning of the East African cloth wrap, Kanga. Research into cultural interpretation also informs his design practice. He finds continual challenges to his assumptions about the power of visual communication in the space between the author’s intended message and the users response to the design. Msangi received a BFA from Boise State University and an MFA in Graphic Design from Cranbrook Academy of Art. He has been a professor at the University of Massachusetts Dartmouth since 1998, and a founding faculty of the Vermont College of Fine Arts, MFA program in Graphic Design.
Michael Berryhill was born in El Paso, Texas in 1972. He received his BFA at the University Of Texas in 1994 (Austin, TX) and attended the Skowhegan school of painting and sculpture (Madison, ME) before receiving his MFA from Columbia University in 2009 (New York, NY). He currently lives and works in Brooklyn, NY.
David Bate is an artist and writer based in London, UK. His photographic work has been exhibited internationally in art galleries, photography festivals, and public spaces. Zone, his photographic work on memory, image, and narrative in post-Soviet Europe, was published in 2012 by Artwords Press in London. His writings include the widely-translated books Photography: Key Concepts (Bloomsbury, 2016), Art Photography (Tate, 2015), and Photography and Surrealism (IB Tauris, 2004). He is co-founder and co-editor of the journal photographies and Professor of Photography at the University of Westminster in London, UK.
Robyn O’Neil is a Los Angeles based visual artist who solely makes drawings. Her work was included in the 2004 Whitney Biennial. She has had several traveling solo museum exhibitions in the United States, and is the recipient of numerous grants and awards. Her work is included in noted museums throughout the world. O’Neil has been included in numerous acclaimed group museum exhibitions both domestically and internationally including the highly anticipated exhibition "Dargerism" at The American Folk Art Museum, featuring Henry Darger's influence on contemporary art. She received a grant from the Irish Film Board for a film written and art directed by her entitled “WE, THE MASSES” which was conceived of at Werner Herzog’s Rogue Film School. She also hosts the weekly podcast “ME READING STUFF.”
I was born in Canada in 1950 into a family of sign-painters and opticians. In 1993 I was offered a professorship in Visual Communications at the Bauhaus University Weimar. I'm active in international co-operation and exchange programmes and was instrumental in developing the Bauhaus University’s Masters in Visual Culture programme. I've been active on design juries and am a member of professional associations related to typography, design history and information design. I have spoken at numerous conferences and symposia: Vision Plus (Austria), TypeCon (USA), ATypI (international), “Looking Back, Looking Forward” (Bangalore, India), and the St. Bride’s Conferences (London) and have taught typography and information design in Canada, the United States, France, Germany, Austria, India and China.
Mario Ybarra Jr.
Mario Ybarra Jr. is best known for installations that Suzanne Hudson described as “notable for combining critical and institutional recognition with a deep-rooted connection to the social spaces to which it so often refers.” In 2002, Mario Ybarra Jr. and Karla Diaz founded Slanguage, a socially-engaged artist group headquartered in Wilmington, CA, who practice a three-pronged approach to art-making based on art education, community building, and the production of interactive exhibitions and performance projects.
Sean Ripple is an artist, writer, and curator based in Austin, TX. HIs projects are often improvisational and interventionist in nature and rely heavily on social media and the Internet to frame the outcomes of a feverish dedication to an idea. His aesthetic inclinations are informed by music video television programming from the ‘80s and ‘90s, the DIY approach of mid-‘90s lo-fi/punk rock culture, early mainstream Internet culture, film, advertising, and administrative processes. Recent projects have explored a perceived lack of commitment to interactivity and participation across a number of digital platforms as well as the destabilization of meaning that seems to trail technological innovation and advancement. His work has been featured in regional publications including …might be good, Glasstire, Austin American Statesman, and Conflict of Interest. Recent exhibitions include illiterate – a bookstore… an exhibition at Pump Project and t e x t s c a p e (with Susan Scafati) at Co-Lab Projects. His essay on the work of Francis Alÿs is featured in the forthcoming catalogue for the Fall 2017 University of Buffalo exhibition, Wanderlust: Actions, Traces, and Journeys 1967-2017 (MIT Press, 2017). He holds a BA in Organizational Communication from St. Edwards University.
Dr. Andrea Kantrowitz
Dr. Andrea Kantrowitz is an artist, researcher, and educator, and has published, lectured and given workshops internationally on drawing and cognition. Through the Thinking through Drawing Project, Kantrowitz co-organized four international symposia on “Thinking through Drawing,” in NYC and London, along with partners at the University of the Arts London, the Drawing Research Network and The Metropolitan Museum. She holds a B.A in Art and Cognition from Harvard University, a MFA in Painting from Yale, and an Ed.D. from Columbia University in art education and cognitive studies. Currently, she is the Graduate Program Coordinator and an assistant professor of art education at the State University of New York, New Paltz, and has taught foundation drawing at Pratt Institute in Brooklyn and art education at Tyler School of Art, Temple University. Her own artwork is represented by Kenise Barnes Fine Art.
Regine Basha is the Director if the Residency Program at Pioneer Works in Brooklyn, NY. Since 1993, Regine Basha has been curating innovative exhibitions for public institutions, civic spaces, magazines and private galleries nationally and internationally. Basha was born in Israel to Iraqi parents, she grew up in Montreal and Los Angeles and attended New York University, Concordia University (Studio Art and Art History) and graduated from Bard College, Center for Curatorial Studies’ inaugural class of 1996.
Her exhibitions have received grant awards from The Andy Warhol Foundation, The Elizabeth Firestone Graham Foundation and The National Endowment for the Arts as well as critical press in The New York Times, Artforum, Modern Painters, Art Papers, Wire, Bidoun, Art Lies, Artforum and NPR Radio. She currently sits on the board of Art Matters and Aurora Picture Show.
Gemma-Rose Turnbull & Anthony Luvera
Gemma-Rose Turnbull is an artist, writer, Senior Lecturer in Photography at Coventry University, United Kingdom, and PhD candidate at The University of Queensland, Australia. She was a Scholar in Residence in the Art and Social Practice MFA program at Portland State University, Oregon USA 2013-2014. Turnbull’s research interests lie with the ways in which photographers integrate co-productive methodologies into their projects––particularly when authorship structures are revised so people who may have previously been ‘subjects’ of photographic texts become co-creators. She has collaborated with street-based sex workers, elderly people who have suffered from abuse, and children. She writes about her research at Photography as a Social Practice (www.asocialpractice.com) and developed the MA in Collaborative Photographic Practices at Coventry University in conjunction with Anthony Luvera.
Anthony Luvera is an Australian artist, writer and educator based in London. His photographic work has been exhibited widely in galleries, public spaces and festivals including the British Museum, London Underground’s Art on the Underground, National Portrait Gallery London, The Lowry Manchester, Belfast Exposed Photography, Australian Centre for Photography, PhotoIreland, Malmö Fotobiennal, Goa International Photography Festival, and Les Rencontres D’Arles Photographie. His writing has appeared in a wide range of publications including Photoworks, Hot Shoe, Source, and Photographies. Anthony is Principal Lecturer and Course Director of Photography at Coventry University. He facilitates workshops and gives lectures for the public programs of the Royal Academy of Arts, National Portrait Gallery, The Photographers’ Gallery, Barbican Art Gallery, Photofusion, and community photography projects across the UK.
Adrian Anagnost is Assistant Professor of Modern and Contemporary Art at Tulane University. Her research addresses issues of urban space, architectonic form, and theories of the social in modern and contemporary art. Anagnost earned a PhD in art history from the University of Chicago, and an MA in Modern Art from Columbia University. Anagnost’s writings on figures including Polish Constructivist Teresa Żarnower, Spanish filmmaker Pedro Almodóvar, Brazilian artist Waldemar Cordeiro, and U.S. contemporary artist Carol Bove have appeared in Woman’s Art Journal, Chicago Art Journal, Hemisphere: Visual Cultures of the Americas, and ArtUS. An essay on the work of Theaster Gates and Tania Bruguera is forthcoming in Beyond Critique: Contemporary Art in Theory, Practice, and Instruction (Bloomsbury Press, 2017). Anagnost’s current book project is entitled Real Architectures, Invented Sites: Art, Space, and the Social in Modern Brazil.
BARI ZIPERSTEIN (aka Zippy) has a multidisciplinary practice of fine art, public art and a design line under BZIPPY & CO based in Los Angeles, California. Born in Chicago, she was raised by design collectors and architecture enthusiasts where they traveled across the U.S. just to find the ideal Bakelite Radio, Boomerang Lamp or 60s ceramic cookie jar. Born in Chicago, she attended Cal Arts (2004) for her MFA and attended Ohio University (2000) graduating with a BFA in Painting and a Women's Studies Certificate. She lives and works in Los Angeles with her husband a home brewer/aerospace engineer and their toddler boy Lawrence.
BZIPPY & COMPANY is a design line by artist Bari Ziperstein, made by hand in Glassell Park, CA in North East Los Angeles. Her unique editions of slab built ceramic floral vases, planters, and lamps are inspired by the rich ceramic history of Southern California, Brutalist / Cold War Architecture, Finnish patterns, and the California deserts. The ceramic jewelry line consists of bits and parts of Ziperstein's totemic sculptures, reformed into breast plates, beads and pendants.
Monica Haller & Matthew Rezac
Monica Haller works on long-term collaborations with individuals and small groups, often using photography, video and writing. Her artistic practice is rooted in social justice concerns and attempts to mobilize information by amplifying the materials and technologies that her collaborators have turned to along the way. Drawing from the experiences of the individuals and communities with whom she works, Monica reactivates their personal histories, and in so doing, hopes to provoke critical dialogue around them and their larger social contexts. Monica has a BA in Peace and Conflict Studies, an MFA in Visual Studies and has received fellowships from foundations including the John Simon Guggenheim Memorial Foundation, the Bush Foundation, the McKnight Foundation and the Jerome Foundation.
Matthew Rezac is an independent graphic designer living and working in Minneapolis, MN. He holds a BFA from the Minneapolis College of Art & Design where he studied both Graphic Design and Photography. From 2004 – 2006 he served as a Graphic Design Fellow at the Walker Art Center
Founded in 2006, his studio practice focuses on print and publication design for a variety of clients — from artists and art institutions to small businesses. Select clients include Blu Dot, Chronicle Books, Highpoint Center for Printmaking, Katherine E. Nash Gallery, Lucia | Marquand, Marianne Boesky Gallery, Midway Contemporary Art, Minneapolis Institute of Art, Minnesota Fringe Festival, Northern Lights, Poor Farm Press, SVA MA in Design Research, Walker Art Center, Weisman Art Museum, and ZER01.
Prior to joining Glasstire full-time in 2014, Christina Rees served as an editor at both The Metand D Magazine, as a full-time art and music critic at the Dallas Observer, and has also covered art and music for the Village Voice and other publications. Rees lives in Dallas, where she was previously the owner and director of Road Agent gallery and the curator of Fort Worth Contemporary Arts.
Maru Calva is a graphic designer based in Mexico City who designs book projects, exhibitions, and websites for cultural institutions, including The Museum of the City of Mexico, the Mexico City Mayor’s Office, the Museo Experimental El Eco, the Museo Universitario del Chopo, and Celda Contemporánea gallery. She regularly collaborates with contemporary Mexican artists; one such collaboration was included in the 55th Venice Biennale. She is the designer of Sur, a contemporary arts journal published in Mexico City, and studied typography and publication design at the prestigious international Werkplaats Typografie workshop in 2012.