International Sculpture Center
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Above: Downtown Skyline, photo by Dan White. Courtesy of Visit Kansas City.
Collaborators & Sponsors: Belger Crane Yard, Charlotte Street Foundation, City of Lawrence, Kansas City Art Institute, KU School of the Arts, Lawrence Arts Center, Studios Inc, The Nelson Atkins Museum of Art and the University of Kansas, Visit KC. This program is made possible in part by funds from the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts and by funds from the National Endowment for the Arts.

 
Jennifer Baker Jennifer Baker
Panel: Hold It Better, Release It Carefully: Object Lessons on Water and Belonging
Jennifer Baker
is an artist and curator who creates experiences that are durational, unfold in space, and often describe metamorphosis. Baker's artwork has been exhibited across the country at venues including Fort Gondo (St. Louis), COOP Gallery (Nashville), Ralph Arnold Gallery (Chicago), the Clough-Hanson Gallery (Memphis), and Gallery UNO (Chicago), among others; as well as internationally at Wilcox and Sax Gallery (Banff, Alberta) and at Schiller's Garden House (Jena, Germany) as the recipient of a Cultural Exchange Grant from the U.S. Embassy in Berlin. Her curatorial projects have been realized at H&R Block Artspace at the Kansas City Art Institute, Pulitzer Arts Foundation, Granite City Art and Design District, Museum Blue, and Des Lee Gallery. Baker's writing has appeared in various publications including Journal of Artists Books and Probing the Skin: Cultural Representations of Our Contact Zone published by Cambridge Scholars. She has been the recipient of numerous awards and was a finalist for the Contemporary Art Museum St. Louis' Great Rivers Biennial in 2015. Baker received her BA in Fine Art and Psychology from Northeastern Illinois University in Chicago and her MFA in Visual Art from Washington University in St. Louis.



Matthew Burke Matthew Burke
Panel: Strategies for Sustainable Practice
Matthew Burke
is an associate professor at the University of Kansas and holds a dual appointment in Visual Art and the Environmental Studies. He teaches sculpture and drawing courses, as well as creative practices coupled with environmental issues. His creative work of constructed objects, outdoor installations, and interactive works, directs attention to the inherent interconnectedness within the world. Recent projects include, The Sun Hive Project, a collaborative effort with his Sustainable Art class furnishing beehives for farmers; and the Neighborhood Pocket Libraries Project, which utilized reclaimed lumber to produce small community libraries. When We Hear Water, June 2017 at the Salina Art Center, focused on the expansive sound of falling water. Burke received his B.A. from Colby College and his M.F.A. in Sculpture from Queens College, C.U.N.Y. His exhibitions include, PS1 MoMA in Queens, NY, the Hopper House Art Center in Nyack, NY, the Brooklyn Museum of Art in NY, and East Carolina University, Greenville, NC, among others. Collections include, the Museum of Modern Art Library, the Brooklyn Museum of Art, and the Cleveland Institute of Art Library. He lives in Lawrence, KC with his wife, Melissa and son, Angus and is grateful for the many wonderful people in his life.




Robert Carl Robert Carl
Breakout Session: Sounding Sculptural Space: Long String Instrument Demonstration
Robert Carl
is a composer of many decades whose wide-ranging music covers many languages & media with roots in transcendentalism, globalism, new technologies, and cross-disciplinary collaboration. For the past fifteen years, he has been developing a harmonic practice that defines a series of "ladders", made of the twelve chromatic pitches arranged vertically in their position closest to their counterpart in the overtone series. Thus, these vertical "rows" are register-dependent; they create voicings of harmonies that can be very open and tonal, yet still highly chromatic. Carl frequently collaborates with sculptor Karen McCoy, creating sound components for installation art works, including pieces for the Sculpture Key Festivals of 2009 and 2010, and the 2013 Wintergreen Festival. Robert Carl's teachers included George Rochberg and Iannis Xenakis. His latest book, Terry Riley's In C, is available from the Oxford University Press. His interest in Japanese music led to a residency in Tokyo in spring 2007 where he interviewed contemporary composers, and studied the shakuhachi. Carl is chair of the composition department at the Hartt School, University of Hartford.




Gerald Clarke Jr. Gerald Clarke Jr.
Panel: Indigenous Sculptors Respond: Indigenous (hi)Story, Land and "Belonging" in an Era of Anti-Immigration
Gerald Clarke Jr.
is an enrolled member of the Cahuilla Band of Indians and currently lives on the Cahuilla Indian reservation located in Southern California. He has exhibited his work extensively and can be seen in numerous exhibitions as well as major museum collections. In 2007, Gerald was awarded an Eiteljorg Museum Fellowship for Native American Fine Art and served as an Artist-in-Residence at the Institute of American Indian Arts in Santa Fe, New Mexico in 2015. Earlier this year, Gerald received a Harpo Foundation Native American Fellowship to the Vermont Studio Center.

When not creating artwork or serving as Assistant Professor of Ethnic Studies at the University of California, Riverside, Gerald assists in running the Clarke family cattle ranch and remains heavily involved in Cahuilla culture. In addition, Clarke participates in Bird Singing, a traditional form of singing that tells the cosmology of the Cahuilla people. Gerald is a frequent lecturer, speaking about Native art, culture and social issues. Gerald holds a B.A. in Art from the University of Central Arkansas and the M.A./M.F.A. degrees in Painting/Sculpture from Stephen F. Austin State University located in Nacogdoches, Texas.




Margaux Crump Margaux Crump
Panel: Material Poetics
Margaux Crump
explores the slippery relationships between power, desire, and intimacy. Her recent objects, drawings, and texts specifically question the power structures behind our cultural constructions of gender and nature. More broadly, her work deconstructs hierarchical and binary modes of thinking by considering other systems that allow for a more complex spectrum of experience. Margaux has exhibited nationally, most notably at the Mildred Lane Kemper Art Museum, Saint Louis; The Corcoran School of the Arts and Design, Washington, DC; The Morgan Art of Papermaking Conservatory, Cleveland; and Artspace, Raleigh. She received her MFA from Washington University in St. Louis, MO and her BA from Trinity University in San Antonio, TX.



Rena Detrixhe Rena Detrixhe
Panel: Strategies for Sustainable Practice
Rena Detrixhe
is an interdisciplinary artist creating contemplative work which combines repetitive process and collected or scavenged materials to produce meticulous, large-scale objects and installations. Often utilizing natural materials, a continuing objective in her practice is to investigate the complicated relationship between humans and the natural world. Her recent work includes a site-specific sculptural drawing made from thousands of individually formed resin droplets created for the Grand Rapids Public Museum in Grand Rapids, Michigan and a 48ft window mural at 108 Contemporary in Tulsa, Oklahoma. As a second year fellow with the Tulsa Artist Fellowship, she has been researching and reflecting on the history of the Oklahoma landscape through ephemeral sculptures made from sifted earth.

Detrixhe received her BFA from the University of Kansas in 2013. She is the recipient of numerous awards including a scholarship to attend the prestigious art school at Hongik University in Seoul, South Korea, the Brosseau Award from the Spencer Museum of Art in Lawrence, Kansas, and a two-year studio residency with Charlotte Street Foundation in Kansas City, Missouri. Detrixhe is currently in her second year of the Tulsa Artist Fellowship in Tulsa, Oklahoma.



Jill Downen Jill Downen
Panel: Biomorphic form; design / planning / fabrication
Jill Downen's
art is an investigation of the symbiotic relationship between the human body and architecture expressed in temporal installations, drawings, and models. Her art envisions a place of interdependent relation between the human body and architecture, where the exchanging forces and tensions of construction, deterioration, and restoration emerge as thematic possibilities.

Downen has received numerous awards including the John Simon Guggenheim Memorial Foundation Fellowship, the MacDowell Colony National Endowment for the Arts residency, and Cité ́International des Arts Residency in Paris. She has created site specific installations for museums such as American University Museum in Washington DC, the Oklahoma City Museum of Art, and the Contemporary Art Museum St. Louis Great Rivers Biennial and its 10th Anniversary exhibition, Place is the Space. She has been invited to lecture about her work extensively, including the Phillips Collection in Washington, D.C. and the Luce Irigaray Circle Philosophy Conference in New York. Her art has been reviewed in publications including Art in America, Sculpture Magazine, Art Papers, The St. Louis Post-Dispatch, The New York Times and Bad at Sports. She holds a BFA from the Kansas City Art Institute and an MFA as a Danforth Scholar from Washington University in St. Louis. Downen is currently an assistant professor and chair of sculpture at the Kansas City Art Institute.



Dwight Frizzell Dwight Frizzell
Breakout Session: Sounding Sculptural Space: Long String Instrument Demonstration
Dwight Frizzell
is an internationally recognized artist combining video, theater, multi-channel sound, music and writing. His work was featured in the Biennale de Paris, World‐Wide Video Festival (Amsterdam), NPR, Radio Nova (Paris) and Resonance FM (London). His awards include a Peabody (as part of Lost and Found Sounds) and a Golden Reel (for audio-theater).

In 1976, Dwight issued Beyond the Black Crack, an album based on time-shifting effects of black holes, and the practice of Turtle Music that is guided by the acoustic imprint of particular soundscapes. In 2001, while working with the Air Force Reserve and Michael Henry, created Sonic Force for two A10 Warthog Attack planes and ensemble. His current project, "Bridge," orchestrates traffic-activated sounds from inside a Missouri River bridge. He performs with the Myth-Science Ensemble, Black Crack Revue, and Sound Art Collaborative. Frizzell is a founder of the newEar contemporary chamber ensemble, and the National Audio Theatre Festivals. His teachers include Sun Ra, who he interviewed over a ten-year period, and video artist Douglas Davis. Frizzell is Professor of Converging Media at the Kansas City Art Institute.




Ellen Fullman Ellen Fullman
Breakout Session: Sounding Sculptural Space: Long String Instrument Demonstration
Ellen Fullman
has been developing her installation, the Long String Instrument, for over 30 years; exploring the acoustics of large resonant spaces with her compositions and collaborative improvisations. Fullman has researched and designed wooden acoustic resonator boxes and tested many music wire alloys, gauges and tempers. Every element in her installation has been explored and tested for tone color, or the filtering of the natural harmonic spectrum. Her tablature graphic notation choreographs her physical movement through the unfolding spectrum of harmonics generated by the Long String Instrument. Music composition, with consideration for the natural resonances of material and the harmonic series, is a collaboration with the universe in the systems which pre-exist. Fullman has been the recipient of numerous awards, commissions and residencies including: Foundation for Contemporary Arts Grants to Artists (2015); Center for Cultural Innovation Grants (2008 and 2013); Japan/U.S. Friendship Commission/NEA Fellowship for Japan (2007); and DAAD Artists-in-Berlin residency (2000). Fullman has recorded and published extensively with this unusual instrument.




Robert Gero Robert Gero
Panel: Defining Pressure: Examining the State of Objects in Contemporary Making
Robert Gero's
work - both built and written - is grounded in the practical and theoretical intersection of art practice and philosophy. He also writes about art and curates art exhibitions.

Robert was born in Canada but grew up in Los Angeles. He holds an M.F.A. in sculpture and an M.A. in philosophy/aesthetics from Cal-State LA, and a Ph.D. in philosophy from the New School for Social Research in NY.

He has exhibited nationally and internationally, select exhibitions include: The Museum of Arts and Design, NY; the 45th Venice Biennale; The Sci-Art Gallery at UCLA; Artist Space, NY; Tom Solomon Gallery, LA; Frederieke Taylor Gallery, NY; Makor Gallery, NY; Santa Monica Museum of Art, CA.

Select publications include: Killing Time: a Theatre of Images, Kemper Art Museum Publications 2014; "Infinite Wonder, Infinite Structures" Media-N, New Media Journal 2015; "Introduction," in Art History Versus Aesthetics, Routledge 2006.

His work has been written about in the New York Times, The New Yorker Magazine, the Los Angeles Times, Artforum International, Art in America, among others.

Curatorial projects include: Doing and Undergoing, Teachers College/Columbia University NY, NY; Balázs Kicsiny and Contemporary Hungarian Art at The Kemper Museum of Art, Saint Louis MO. (with catalog).



Helena Lukasova Helena Lukasova
Panel: Defining Pressure: Examining the State of Objects in Contemporary Making
Helena Lukasova
is born in Brno, Czech Republic. Currently she is teaching at the Faculty of Informatics Masaryk University Brno where she is the head of The Studio of Graphic Design and Multimedia.

Helena Lukasova holds a Ph.D. from the Academy of Fine Art and Design, Bratislava 2005 -2009. The focus of her studies was on digital sculpture. She holds a Master's degree in sculpture, from the Academy of Fine Art and Design, Bratislava, SK, 1990 - 96. She also studied and worked at the Johnson Atelier - Technical Institute of Sculpture, N.J., where she witnessed the power of digital fabrication first hand an experience that defined her further direction.

She has numerous exhibitions. Most recently her work was at GASK in the Czech Republic in Tranforma/The Bone Phone (together with Michael Rees) in summer of 2017. Her work "I am Venus" is on permanent display at Grounds for Sculpture, Hamilton, NJ. She was a micro resident at the Center for New Art at William Paterson University where she realized robotic sculptures generated from her own brain wave patterns. She has also realized jewelry projects at the Museum of Applied Arts in Brno, CZ for which she was awarded the Czech Grand Design 2015 Award. Her work was also nominated for the 3D Print Show Global Award in London in 2014.



Cannupa Hanska Luger Cannupa Hanska Luger
Panel: Indigenous Sculptors Respond: Indigenous (hi)Story, Land and "Belonging" in an Era of Anti-Immigration
Cannupa Hanska Luger
is a multi-disciplinary artist of Mandan/Hidatsa/Arikara/Lakota descent. His work communicates stories of complex Indigenous identities coming up against 21st Century imperatives, mediation, and destructivity. Luger's practice applies critical social analysis matched with dedication and respect for the diverse materials he engages.

Luger is known for his ceramic innovations, interpreting the material with patience and experimentation. He engages his concepts further through fiber, steel, cut-paper, video, sound, social engagement, performance, monumental sculpture, and land art installation. His work continually advances in concept, medium, and material, as he provokes the world to see Indigenous peoples through a lens alternative to colonial social structuring.

Recent notable works include Everything Anywhere, an interactive monumental head sculpture made of ceramic, steel, fiber, and sound which draws upon the intercultural manifestation of nature through the matriarchal form; The Mirror Shield Project, a social engagement work which invited the public to create mirrored shields for water protectors at Standing Rock and has been formatted for actions across the nation; Old Dominion, a series of life size ceramic buffalo skulls and land art installations which interpret America's continued forced narrative onto the land through the legacy of colonization.

Luger holds a BFA in studio ceramics from the Institute of American Indian Arts. He was recipient of the 2016 Native Arts & Cultures Foundation National Artist Fellowship Award and has participated in artist residencies and institution lectures throughout the nation. He holds a studio practice in New Mexico and is collected and exhibited internationally.



Amber Hawk Swanson Amber Hawk Swanson
Panel: Hold It Better, Release It Carefully: Object Lessons on Water and Belonging
Amber Hawk Swanson
is a New York-based artist born in Davenport, Iowa. Her work deals with how the psychological debt of love animates us in a social-emotional economy. Recent exhibitions and screenings include Palais de Tokyo (Paris, France); Denny Gallery (New York, NY); Momenta Art (Brooklyn, NY); and Locust Projects (solo, Miami, FL). Hawk Swanson's seminars and residencies include New Museum Seminar: SPECULATION (New York, NY); Lower Manhattan Cultural Council (LMCC) Workspace (New York, NY); LMCC Process Space (New York, NY); Yaddo (Saratoga Springs, NY); MacDowell (Peterborough, NH); Sharpe-Walentas (Brooklyn, NY); Skowhegan School of Painting & Sculpture (Skowhegan, ME); Atlantic Center for the Arts (New Smyrna Beach, FL); Mana Contemporary BSMT (Jersey City, NJ); and G-CADD (Granite City, IL) in partnership with Paul Artspace (Florissant, MO). Recent scholarly writing on her work has been published in GLQ: A Journal of Lesbian & Gay Studies (2015 & 2012) and Theatre Drama Review (TDR, 2012). Hawk Swanson's work has additionally been profiled and reviewed in the Guardian (2014), Chicago Tribune (2011), and Associated Press (2007). Her work is included in the permanent collection of the Museum of Contemporary Photography (Chicago, IL). Hawk Swanson holds an MFA from the School of the Art Institute of Chicago (Studio Arts, 2006) and is a recipient of a 2015 Rema Hort Mann Foundation Artist Community Engagement Grant and a 2014 Franklin Furnace Fund Grant. She currently teaches in the Sculpture Departments of Rhode Island School of Design, RISD (Providence, RI) and Virginia Commonwealth University, VCU (Richmond, VA).



Walis Johnson Walis Johnson
Panel: Strategies for Sustainable Practice
Walis Johnson
is an interdisciplinary artist/filmmaker whose work documents the experience and poetics of the urban landscape through oral history, ethnographic film, and artist walking practices. She is particularly interested in the intersection of documentary film, performance and socially engaged art. Walis explores hidden fissures of culture and history that upend our understanding of the political, economic and cultural structures we use to define the American condition and ourselves. Discussions that emerge are expansive, open-ended and grow richer over time. The Red Line Archive Project - activates conversations about the personal and political affects of redlining using her own family story growing up in Brooklyn.

Walis holds an MFA from Hunter College in Interactive Media and Advanced Documentary film and has taught a course in sustainable systems and design at Parsons School of Design. She is a 2017 Culture Push Fellow for Utopian Practice and is currently a resident artist of Walking Lab, an international research project and collaborative network of artists, arts organizations, activists, scholars and educators. She has presented or exhibited work at the Animart Conference, in Delphi, Greece, Wagner College, Staten Island, the Mid-Atlantic Oral History Conference at Columbia University, and the Oral History Summer School in Hudson, New York.





Young Joon Kwak Young Joon Kwak
Panel: Personal Patina
Young Joon Kwak
is a LA-based multi-disciplinary artist. Kwak's sculptures reimagine the function, material, and form of objects, in order to create spaces and scenarios that propose different ways of viewing and interpreting bodies as mutable and open-ended. She is the founder of Mutant Salon, a roving beauty salon/platform for experimental performance collaborations with her community of queer, trans, femme, POC artists and performers, and the lead performer in the electronic-dance-noise band Xina Xurner. Performances and exhibitions include: Commonwealth & Council, the Hammer Museum, The Broad, REDCAT, and ONE National LGBT Archives, Los Angeles; Regina Rex and Smack Mellon, Brooklyn; Southern Exposure, San Francisco; Museum of Contemporary Art, Denver; and Pavillon Vendôme Centre d'Art Contemporain, Clichy, France. Kwak was recently awarded the Art Matters Grant and the Rema Hort Mann Foundation's Artist Community Engagement Grant. She received an MFA from the University of Southern California (2014), and a BFA from the School of the Art Institute of Chicago (2007).




Karen McCoyKaren McCoy
Panel: Strategies for Sustainable Practice
Karen McCoy is an artist exploring materials, forms, texts, and ideas that address our current environmental peril. Her work confronts ecological destruction in our habitat as she encourages more careful attention to what is taking place around us and our role in it. McCoy makes her work by amplifying and intensifying ordinary phenomena using subjects there for everyone to see, but so woven into the everyday fabric they often go unnoticed. Slowing pace to make sense of complexity, McCoy's work seeks to encourage understanding about how things interconnect. Her sculpture has been shown across the United States, Europe, and Asia. It has been included in Ways to Wander, Hind/Qualman, (2015); World of Art, Sayre (2010/12); Gardens without Boundaries, Cooper (2003); Krakamarken, Rønneau (2001); and Earthworks and Beyond, Beardsley (1998). Articles about her work have appeared in Lake, Land Forum Magazine, The Land Report , Art and Design: Art and the Natural Environment, and has been reviewed in Sculpture Magazine, New York Times, Dallas Times Herald, and Philadelphia Inquirer among others. McCoy has taught at Colby and Williams Colleges, and is a Professor in Sculpture at the Kansas City Art Institute.



Alison McNultyAlison McNulty
Panel: Material Poetics
Alison McNulty
is a multidisciplinary artist living in the Hudson Valley of New York. Her work explores the fragile nature of our relationship to the material world and is deeply ingrained in a poetic understanding of space and materiality. She works in relation to neglected sites using reclaimed material traces to consider the value of ordinary matter, the range of our sensibilities to organic processes and material agencies, and to shed light on how we make meaning from embodied experience. McNulty earned her BFA from Washington University in St. Louis in 2001 and her MFA from the University of Florida in 2008. She has taught at Whitman College and the University of Florida, and currently teaches at the French-American School of New York, Brooklyn College, and Parsons School of Design at The New School. She received an Alumni Fellowship from the University of Florida and was awarded scholarships for residencies at the Atlantic Center for the Arts and Anderson Ranch. Her work has been included in exhibitions at Manifest Gallery, OH, Florida State University Museum of Fine Arts, University Gallery, Gainesville, FL, Slocumb Galleries, TN, Simultan Festival in Romania, and Collaborative Concepts Farm Project, NY.



Arny Nadler Arny Nadler
Panel: Material Poetics
Arny Nadler
is an associate professor in the Sam Fox School of Design & Visual Arts at Washington University in St. Louis where he is chair of undergraduate art. Nadler was awarded a Regional Arts Commission Fellowship and has received a George Sugarman Foundation grant and two Faculty Creative Research Grants. Nadler has exhibited his sculpture at numerous venues, including the Newport Beach Civic Center, Evanston Art Center, Turchin Art Center, Kingston Sculpture Biennial, Western Michigan University, Rockland Center for the Arts, University of Alabama-Huntsville, and the Mitchell Museum. His work has been reviewed in Art in America and other notable publications. Nadler has presented at Foundations in Art: Theory and Education Conference and the Mid-America College Art Association Conference, and he has been a visiting artist at several universities and colleges. Nadler earned his MFA from Cranbrook Academy of Art and his BFA from Washington University in St. Louis.


Veronica Perez Veronica Pérez
Panel: Personal Patina
Veronica A. Pérez
is an artist and educator. Perez graduated from Moore College of Art and Design with her BFA in 2014 and Maine College of Art with her MFA in 2016.

Perez was born and grew up in New Jersey. As a young child, the contrast between the industrial and natural, the kitschy and refined in New Jersey influenced her work greatly.

Perez works mostly in the medium of sculpture. Usually utilizing construction and kitschy materials in her pieces, Perez creates intense personal moments by means of hybridization, alongside ideals of beauty and nostalgia; while fragility echoes sentiments of a lost self, and at the same time parallels contemporary feminist tensions and identity politics.

Currently, Perez teaches at Southern Maine Community College in the Fine Art/Welding department, and at Bomb Diggity Arts, a program where she teaches woodworking and art to adults with intellectual disabilities.




J.M. Rees J.M. Rees
Panel: Biomorphic form; design / planning / fabrication
Jack Rees,
colorist, architect, writer is founding partner of z2zero, a design/build firm specializing in high-performance homes. In addition he directs a research based architecture and design practice based in Kansas City, Missouri called studio jack rees. Within the framework of a business established in 1958, Rees specializes in architectural modifications to existing structures and the design of interiors, furniture and surfaces. Author of The Sixth Surface: Steven Holl Lights the Nelson-Atkins Museum of Art (2007) and Urban Stories of Place (2006); his exhibitions include Quasi-Objects of a Mental Kind at the Jewish Museum of Contemporary Art; Conceptual Play at the Greenlease Gallery; the virtual nomad at the Linda Hall Library; and Manhattan Miniature Golf at P.S.1.




Michael Rees Michael Rees
Panel: Defining Pressure: Examining the State of Objects in Contemporary Making
Michael Rees
is an artist working in themes of figuration, language, technology, and the social to weave a sculptural mélange. He has shown his work widely including the Whitney Museum in the 1995 Biennial and again in "Bitstreams" in 2001, the MARTa Museum in Germany, Art Omi, The Pera Museum in Istanbul, The Kemper Museum of Contemporary Art, and in private galleries such as Bravin Lee Programs, 303 , Bitforms, Basilico Fine Art, Pablo's Birthday, Favorite Goods and elsewhere.

His works are in the collections of the Whitney Museum of American Art, the Kemper Museum of Contemporary Art, Kansas City, and numerous private collections. Rees has received grants from Creative Capital, the New Jersey State Council on the Arts, the Rockefeller Foundation, and the National Endowment for the Arts. He received his BFA from the Kansas City Art Institute and his MFA from Yale University. He also won a Deutscher Akademischer Austaushdienst for study at the Kunstakademie in Dusseldorf, Germany. He is part of the Digital Stone Project which runs a robot carving workshop in the Carrara region of Tuscany. Rees is currently professor of sculpture and digital media at William Paterson University, and Director of the Center for New Art, an art and technology robotics lab.




Leonardo Remor Leonardo Remor
Panel: Hold It Better, Release It Carefully: Object Lessons on Water and Belonging
Leonardo Remor
majored in filmmaking at Unisinos. His works combines reality and fiction and is often associated with ruin, abandonment, and the inexorable passage of time. Through the use of different mediums - film, installation, performance, photography - he investigates the space of nature in the logic of urban and human development. His solo exhibitions include O vento dissipa as lembranças de uma realidade anterior, (Santander Cultural, 2015); Longe daqui, (Galeria dos Arcos, Usina do Gasômetro, 2012); and Tempo Morto, (Galeria La Photo, 2011). He participated in the group exhibitions WaterScapes (BOX Contemporary, Miami, 2016); Gogò da Emma (Galeria Emma Thomas, NY, 2016); Quase uma Ilha, Galeria Pení nsula, 2015; Jogos de Aproximação (Galeria Pení nsula, Porto Alegre, 2015); O Valor das Coisas, (Atelier Subterrânea, 2014); Corpo Presente, (Galeria Lunara, 2014); Horizonte á Venda, (Casa de Cultura Màrio Quintana, 2013). He was invited to participate in the Island Sessions programme, organised by the 9th Mercosul Biennial in 2013. He was an artist in residence at OMI International Arts Center, (NY/USA, 2016); COMUNITARIA, Curatorí a Forense (LINCOLN/ARG, 2016) and PIVÔ Research (SP/BR, 2016).





Denis Rodriguez Denis Rodriguez
Panel: Hold It Better, Release It Carefully: Object Lessons on Water and Belonging
In Denis Rodriguez's installations, actions, photographs, videos and objects, water is an element that appears as medium and a form of speech. Relations between public and private, reality and simulation, environment and exhibition space are also present in his work. Emphasizing process and relationship building, Rodriguez seeks to raise awareness of everyday city issues that are linked to landscape to create spaces that provide opportunities for new forms of knowledge and interdependence. He has a master's degree in Art History, Theory and Criticism by UFRGS and independent space manager of galeria Península (Porto Alegre), where he coordinates the artist-in-residence programme. His solo exhibitions include Pariwat Jenipapo, Fotoativa, Belem, 2017; Preto sobre preto em fogo, Pera de Goma, Montevidéo, 2016; Água Viva, Galeria Península, Porto Alegre, 2015; and Lighthouse, vitrine MASP, São Paulo, 2014. He participated in the group shows Waterscapes, FATVillage, Miami, 2016; O Valor das Coisas, Atelier Subterrânea, Porto Alegre, 2014; and Horizon for sale, Casa de Cultura Mário Quintana, Porto Alegre, 2013.



Rose B. Simpson Rose B. Simpson
Panel: Indigenous Sculptors Respond: Indigenous (hi)Story, Land and "Belonging" in an Era of Anti-Immigration
Rose B. Simpson
hails from an arts and permaculture environment at Santa Clara Pueblo, NM. She is a mixed-media artist whose work engages ceramics, metal, fashion, painting, music, performance, installation, and custom cars.

Simpson's work has been featured at Pomona College Museum of Art, SITE Santa Fe, the National Museum of the American Indian, the Heard Museum, the Museum of Contemporary Native Art, and the Denver Art Museum.

Residing on the Santa Clara reservation, she explores ways to deconstruct gender and culture stereotypes and social ideologies through creating 2D and 3D works in her studios, working on her classic cars in her shop, or pulling weeds and feeding animals on the farm, all the while carrying her infant baby girl.

Simpson earned her BFA from the Institute of American Indian Arts and an MFA in Ceramics from the Rhode Island School of Design. From 2012-2015 she attended Northern New Mexico College's Automotive Science Program with a focus in Auto Body. She is currently enrolled in the Institute of American Indian Arts' Low Rez Creative Writing MFA program. Simpson is represented by Chiaroscuro Contemporary Art Gallery in Santa Fe.



Benjamin Spalding Benjamin Spalding
Panel: Personal Patina
Although his name sounds typical to New England, the reality is quite different: Benjamin Spalding is a queer, Puerto Rican raised in Maine. Spalding's approach to sculpture has developed through his relationship to artifacts and ritual, using making as a means to decode and share his personal experience. Spalding views all culture as raw material: the object, historical motifs, and fabricated goods - all active translators of a personal story. In a moment of questionable "truth", the mutual understanding of objects reveals their power as the common material language in constant dialogue with the audience. Hybridity is present in his practice, demonstrated through material choices relating to being Hispanic and queer within small town New England, where Latino tropes are combined with New England signifiers like LL Bean, hockey, and lacrosse motifs. Materials have history and with that, they have an ability to bring the audience close to one's personal experience.



Laurencia Strauss Laurencia Strauss
Panel: Hold It Better, Release It Carefully: Object Lessons on Water and Belonging
Laurencia Strauss
is an artist/landscape architect investigating vulnerabilities and ingenuities of people and places they inhabit. Through actions, installations and projects in public spaces, she gives agency to local knowledge and explores relational dynamics of sites and situations, generating healthy living systems with creative disruptions that invite rethinking and restructuring. Working across art and design, she creates experiences that heighten our sense of interdependence.

Based in Miami, Laurencia is responding to sea level rise issues at a critical time of consciousness for South Florida, a vibrant region now grappling with serious health conditions. Experiences with illness inform her understanding that a difficult diagnosis - for a person or a city - does not necessarily mean imminent death but may bring vibrant phases of life with innovative strategies of maintenance, growth, hope, and adaptation.

Currently an Artist in Residence at ArtCenter/South Florida, her recent solo exhibitions include Hope and Doom, Satellite Art Show, Miami Beach (2016), Infiltracao, Peninsula Gallery, Porto Alegre, Brazil (2016), Landlines, Penland Gallery, North Carolina (2016), Talking to Satellites, TSKW, Key West (2015). Group shows include Mni Wiconi, London (2017), Opposing Futures, Ft. Lauderdale (2017), Flooded Sanctuaries, Miami Beach (2017), Transmission, Miami (2016), Waterscapes / Paisagem d'agua, Ft. Lauderdale (2016).



Fatimah Tuggar Fatimah Tuggar
Panel: Personal Patina
Fatimah Tuggar
is a multidisciplinary artist who uses technology as both medium and subject in her work to serve as metaphors for power dynamics. She combines, objects, images and sounds from diverse cultures, geographies and histories to comment on how media and technology diversely impacts local and global realities. Tuggar’s work has been widely exhibited at international venues, in over twenty-five countries and has been the subject of various panels and articles. Her body of work has also been integrated as parts of academic curricula, in multiple disciplines and discussions, including technology, new media, politics, cultural studies, feminism, diaspora, globalization, anthropology, social justice, sculpture, interactive media, photography, and video among others. Tuggar’s art education covers three continents and a broader range of disciplines, traditions, processes, and materials. She is currently an Associate Professor of Foundations Studies at the Kansas City Art Institute.



Keith Van de Riet Keith Van de Riet
Panel: Biomorphic form; design / planning / fabrication
Keith Van de Riet
is an assistant professor in the Architecture Department at Kansas University School of Architecture and Design. He teaches design-build, digital design, and fabrication with emphasis on context and interface between constructed and natural environments. Prior to KU he taught at Florida Atlantic University, and his research activities intersect design, technology, and nature in the development of bioinspired architectural and landscape systems. Recent projects include an engineered-living seawall that mimics mangrove trees in South Florida to recapture ecological services in a constructed environment. He practiced architecture in New York City and received his doctorate in Architectural Sciences from Rensselaer Polytechnic Institute with focus in Built Ecologies, a research program co-hosted by The Center for Architecture, Science and Ecology and Skidmore, Owings and Merrill, LLP in New York City. He received his B.Arch from KU in 2004.



Rafael E. VeraRafael E. Vera
Panel: Material Poetics
Rafael E. Vera
received his BFA and MFA from The School of the Art Institute of Chicago where he was a recipient of the Edward L. Ryerson Fellowship Award and the George L. and Roman Siegel Fellowship Award. In 2013, he received the 3Arts Ragdale Residency Fellowship. He currently teaches Painting, Drawing, and Printmaking at Loyola University Chicago. Recent exhibitions and publications include New American Paintings, issue 107; Transient Visitant (with marimba, clarinets, body and chair) in collaboration with composer Victor Marquez-Barrios, Truman State University, Kirksville, MO; the L A Art Show 2016, Los Angeles, CA; Present Standard, Chicago Cultural Center, Chicago; the 23rd Evanston+Vicinity Biennial, where he received the 2017 Exhibition Award; Mutual Dealings, Bert Green Fine Art, Chicago; and The Moments Between: New Work by Rafael E. Vera, Averill and Bernard Leviton A+D Gallery, Chicago, - curated by Jessica Cochran. His work is commonly installation-based as well as two and three-dimensional, and oftentimes collaborative and performative. His latest work investigates his constant interest for the transition. Rafael E. Vera was born and raised in Maracaibo, Venezuela, and presently lives with his wife, two kids and a dog, in a house with a front porch, in the city of Chicago.




Holly WilsonHolly Wilson
Panel: Indigenous Sculptors Respond: Indigenous (hi)Story, Land and "Belonging" in an Era of Anti-Immigration
Holly Wilson
(Delaware Nation/Cherokee) is a contemporary multi-media artist. Her figures serve as her storytellers to the world, conveying stories of the sacred and the precious, capturing moments of our day, our vulnerabilities, and our strengths. The stories are at one time both representations of family history as well as personal experiences. Wilson's work reaches a broad audience allowing the viewer the opportunity to see their personal connection. Wilson works in a variety of media including bronzes, encaustic, photography, and clay.

Wilson received her Bachelor of Fine Arts from the Kansas City Art Institute in 1992 in Ceramics and a Masters of Arts in Ceramics in 1994 and her Masters of Fine Arts in Sculpture in 2001, both from Stephen F. Austin State University, TX. Wilson now works and lives in Mustang, Oklahoma. She has been exhibiting her intimate bronzes, photography, and encaustic relief paintings nationally and internationally since the early 1990s. Her works are in corporate, public, and museum collections throughout the U.S., as well as national and international private collections. Wilson's work is represented in galleries on the East and West Coast as well as the Midwest.

Wilson has received recognition for her artwork through her inclusion in important juried exhibitions including, Expressions of Spirit at the Wheelwright Museum of the American Indian in 1994. Most recently she was chosen to represent Oklahoma in the Museum Exhibition Four by Four 2016: Midwest Invitational at the Springfield Art Museum in Springfield, MO. Wilson has received many awards, grants, and fellowships for her evocative sculptures, including a 2017 SWIAI Discovery Fellowship from the Santa Fe Indian Market and a 2015 Eiteljorg Fellowship from the Eiteljorg Museum of American Indians and Western Art.



L. William (Bill) ZahnerL. William (Bill) Zahner
Panel: Biomorphic form; design / planning / fabrication
L. William (Bill) Zahner
is CEO/President of A. Zahner Company, an engineering and fabrication firm specializing in complex metal design. For 120 years, Zahner has pushed the limits of art and architectural forms through collaborating with those who dare to boldly imagine the future. Zahner is centrally located in the United States. With facilities in Kansas City, MO and Dallas, TX, the Zahner team of highly trained engineers, architects and metal craftsmen offer personalized solutions based on each client's needs. Working in a digital environment with cutting edge technology, capabilities include façade, roof, and building envelope systems as well as perforated metal solutions and custom patina options. Zahner projects can be found worldwide-North America, South America, Europe, Asia, and Australia. For a full overview of past projects, and a full listing of awards and patents, please visit www.azahner.com. As a fourth-generation expert, Mr. Zahner holds a wealth of knowledge in the field of architectural metals. Along with countless articles, he has authored two books detailing the use of metal in architecture, which are considered the 'comprehensive guides' to students and practitioners worldwide.

Zahner earned a Bachelor of Science Degree in Civil Engineering from the University of Kansas. Among his numerous honors, he received the Copper Metal Award by Associazione Italiana Di Metallurgia, an Honorary AIA Membership by the American Institute of Architects and Distinguished Engineering Service Award from the University of Kansas. Zahner is an accomplished sculptor and also serves on the Advisory Board of several prestigious organizations: University of Kansas School of Engineering, Façade Tectonics, Kansas City Design Center, Nerman Museum of Contemporary Art, and Comfort the Children International.



Sponsored by:

Belger Arts Center    Visit KC        
Kansas City Art Institute    Studios Inc
Zahner    Lawrence Art Center
   
Charlotte Street Foundation    KU School of the Arts    The Nelson Atkinds Museum of Art   

    New Jersey State Council on the Arts   Discover Jersey Arts  National Endowment for the Arts


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