International Sculpture Center
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Above: Photo courtesy of Scottsdale Public Art. Knight Rise by James Turrell. Photo by Sean Deckert.

Sponsored in part by: Artlink, Inc, ASU Herberger Institute for Design and the Arts (Sponsored by the ASU Art Museum and School of Art), Bentley Gallery, Bollinger Atelier, City of Phoenix Office of Arts and Culture, David & Gladys Wright House Foundation, Digital Atelier, Downtown Phoenix, Inc., Phoenix Art Museum, Scottsdale Public Art, Scottsdale Museum of Contemporary Art and 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.
Roberto Bedoya Roberto Bedoya
Panel: Visionary Artists Navigating Cultural Geographies: An Introduction to the State of Arizona
Roberto Bedoya
is the Executive Director of the Tucson Pima Arts (TPAC) Tucson AZ, where he has instituted the innovative P.L.A.C.E. (People, Land, Arts, Culture and Engagement) Initiative a civic engagement/placemaking platform that supports artists’ projects that address critical community issues. Prior to his work in the field of local arts agencies Bedoya was the executive director of the National Association of Artists’ Organizations (NAAO) from 1996 to 2001 included serving as co-plaintiff in the lawsuit Finley vs. NEA. He is also a writer and arts consultant who works in the area of support systems for artists. As an arts consultant he has worked on projects for the Creative Capital Foundation, The Ford Foundation, The Rockefeller Foundations, and the Urban Institute.

His writing has appeared in numerous publications including The New Gatekeepers: Emerging Challenges to Free Expression in the Arts, (Columbia University Press, 2003) CMYK, the Hungry Mind Review, the Los Angeles Times and the World Policy Journal. He is the author of essays: “The Color Line and US Cultural Policy: An Essay with Dialogue” ; “Creative Placemaking and the Politics of Belonging and Dis-belonging,”; “ Spatial Justice: Rasquachification, Race and the City”; and the poetry chap-book “The Ballad of Cholo Dandy (CHAX Press).

He sits on the board of Grantmakers in the Arts. Bedoya has been a Rockefeller Fellow at New York University and a Visiting Scholar at the Getty Research Institute in Los Angeles.

Eric Brunvand Erik Brunvand
Workshop: Arduino Controlled Drawing Machine Workshop
Erik Brunvand
is an Associate Professor in the School of Computing at the University of Utah in Salt Lake City, Utah. His research and teaching interests include the design of application-specific computers, graphics processors, ray tracing hardware and software, asynchronous systems, and VLSI. He and his students are currently designing a many-core computer architecture targeted at real-time graphics rendering using ray tracing.

Professor Brunvand has a strong interest in arts/technology collaborations. Starting in 2009 he has co-developed and taught a collaborative course with Paul Stout, a sculptor at the University of Utah. This course, Embedded Systems and Kinetic Art, pairs computer science and art students into teams to design and build computer-controlled kinetic artworks. He has also spent time as a visiting scholar in the Digital and Experimental Media Arts (DXARTS) program at the University of Washington (2012). This interest in arts/tech collaborations has led him to explore a variety of kinetic mixed media artworks, many involving electronic control, and including sculpture that make their own drawings. He is also a printmaker, and co-founder of Saltgrass Printmakers, a non-profit printmaking studio and gallery in Salt Lake City since 2004.

Dan Collins Dan Collins
Panel: From Data to Metaphor: Integrating the Arts & Sciences
Workshop: 3D Body Scanning and Prototyping
Dan Collins
joined the School of Art faculty at Arizona State University in 1989. He is founding Co-Director of the PRISM lab (a 3D modeling and prototyping facility) and coordinator of the foundation art program (artCore). Collins studied studio art and art history at the University of California, Davis receiving a Bachelor of Arts degree in 1974. He holds a Master of Arts degree in Art Education from Stanford University (1975), a Master of Fine Arts (MFA) in "New Forms" and Sculpture from UCLA (1984), and a PhD in Interdisciplinary Humanities from ASU (2009). Along with his wife, Laurie Lundquist, he was founding Co-Director of the Deep Creek School, an experimental residency program in the Colorado Rocky Mountains. He has served as president of the Board of Trustees of the Telluride Institute, a “high altitude think-tank” in the San Juan Mountains of Colorado, since 2008. Dan draws upon a range of interdisciplinary approaches to art theory and production, including site specific sculpture, performance, 3D visualization, rapid prototyping, and GIS mapping. His work is situated in the gap between the body and technology--between the hand-made and the high-tech. Recent work focuses on novel 3D scanning systems, 3D printing, and interactive media.

Amada Cruz Amada Cruz
Panel: Navigating Cultural Geographies
Amada Cruz
has been The Sybil Harrington Director of Phoenix Art Museum since February 2015.

Born in Havana, Cuba, Cruz studied Art History and Political Science at New York University. Her first museum position was as a curatorial intern at the Solomon R. Guggenheim Museum in New York, where she subsequently worked as a Curatorial Assistant.

Her other museum posts have included Associate Curator, Hirshhorn Museum and Sculpture Garden at the Smithsonian Institution; Acting Chief Curator and Manilow Curator of Exhibitions at the Museum of Contemporary Art in Chicago; Director of the Center for Curatorial Studies Museum at Bard College; and Executive Director at San Antonio-based Artpace, an artist residency program. In her curatorial work, Cruz has organized over fifty contemporary art exhibitions, many of which have traveled nationally and internationally. She has contributed essays to numerous publications, including her own exhibition catalogues.

Cruz has also worked as a grant maker and was the founding Program Director for United States Artists in Los Angeles, where she was responsible for all programming activities of a Ford and Rockefeller Foundations initiative. She also has been Executive Director of Artadia: The Fund for Art and Dialogue in New York City, which awarded grants to visual artists in San Francisco, Houston and Chicago.

Cruz has served as a panelist for numerous granting organizations, including the National Endowment for the Arts, the Pew Charitable Trust, the Tiffany Foundation, the French American Fund for Exhibitions, and several regional foundations.

Francois DavinFrançois Davin
Panel: International Site-Specific Artists and Locals Join Forces
to Celebrate the Identity of a Site

Sculptor and painter, François Davin dedicated himself full time to site-specific art 24 years ago. As such, he has created more than 200 site-specific sculptures on all 5 continents. His theoretical and practical research includes the conditions and borderlines of site-specific art. Investigating the socio-economic potentials of art, François co-founded Sculptors and Territories, where unemployed suburb youngsters were involved with artists in the transformation of their territory. François conceived Act of Art, Work of Healing, with artists and health professionals and has been involved in a number of pilgrimages where prayer and art-making were confronted. Worried with the lack of acceptance of contemporary public art, he conceived and directed Le Vent des Forets (VDF), first application of a model for sharing art between artists and communities. He created and/or assisted with 50 international projects applying the VDF model, the last one, Tufi’Arte in October 2014. Francois Davin was knighted in France as an artist on January 1, 2000. He serves as International Delegate for the French Sculptors Union and is a founding member and honorary president of Artists in Nature International Network (AiNIN).

Angela Ellsworth Angela Ellsworth
Activity: Desire Lines: Women Walking as Making
Panel: Outwardly Mobile: Wanderlust and Physical Mobility
in Contemporary Sculptural Practice

Angela Ellsworth
is a multidisciplinary artist traversing disciplines of drawing, sculpture, installation, video, and performance. Her solo and collaborative work has taken in wide-ranging subjects such as physical fitness, endurance, illness, social ritual, and religious tradition. She is interested in art merging with everyday life and public and private experiences colliding in unexpected spaces. Her work has been reviewed in ArtUS, Art News, Fiber Arts, Frieze Art, and, and Performance Research. She has presented work nationally and internationally including the Getty Center (Los Angeles), Museum of Contemporary Art (Sydney, Australia), Zacheta National Gallery of Art (Warsaw, Poland), National Review of Live Art (Glasgow, Scotland), Los Angeles Contemporary Exhibitions (Los Angeles, CA), Crystal Bridges (Bentonville, Arkansas), Museum of Contemporary Art (Denver, CO), Scottsdale Museum of Contemporary Art (Scottsdale, AZ), and Phoenix Art Museum (Phoenix, AZ) to name a few. She is represented by Lisa Sette Gallery in Phoenix, Arizona and Fehily Contemporary in Melbourne, Australia. She is an Associate Professor in the School of Art within the Herberger Institute for Design and the Arts at Arizona State University and launched the Museum of Walking (MoW) in her office on the ASU campus in 2014.

Greg Esser Greg Esser
Panel: Visionary Artists Navigating Cultural Geographies: An Introduction to the State of Arizona
Greg Esser
is currently Desert Initiative Director for ASU’s Herberger Institute for Design and the Arts, a program that seeks to link desert communities regionally and globally through interdisciplinary arts-based research and projects. He has directed three of the largest municipal public art programs in the United States: the City and County of Denver (1991-1996), the City of Phoenix (1996-2004) and Los Angeles County (2009-2011). He also worked at the national level as Public Art Manager for Americans for the Arts in Washington, D.C. (2004-2006). He is the founder and former executive director of the Roosevelt Row Community Development Corporation, a nonprofit organization focused on community revitalization through the arts and culture in downtown Phoenix. He has established several contemporary art venues and businesses including eye lounge gallery, 515 gallery, MADE art boutique and Sixth Street Studios. He received the Phoenix Community Alliance Starr Award, 2014, the "Contemporary Catalyst" award from the Scottsdale Museum of Contemporary Art, 2009, a Governor’s Heritage Preservation Honor Award, 2009 and was named a "Diversity Champion" by the Phoenix Business Journal in 2013.

Ri Eung Woo Ri Eung Woo
Panel: International Site Specific Artists and Locals Join Forces to Celebrate the Identity of a Site
Ri Eung-Woo
was born in a traditional Korean family deeply engaged in the cultural discipline of Confucianism. As a child, though, he was irresistibly attracted to everything in relation with nature. Ri spent most of his childhood playing by the riversides, in the mountains, and in the fields. While growing up, he learned a lot about the natural environment around him. These childhood experiences became a treasure for his work today. Since his graduation from Gongju National Teachers University in visual arts, Ri has taught several generations of art students. He was at the origin and still is the chairman of YATOO, a Korean Natural artists Association group that dedicated itself, as early as the late seventies, to the investigation of the relationship between Mankind and Nature. Expanding its activities from Korea to the world, further than the International Biennales held for the last 15 years, YATOO asked him to be the Director of the Nomadic Art Project for 2015. He took part in 1998 to the foundation of Artists in Nature International Network and was the keynote speaker at AiNIN’s 2005 Conference in Noosa, Australia, following The Floating Land. As a Nature Artist, Ri had 7 solo exhibitions in Korea and Japan. He has been invited to take part to a number of residences, workshops and symposia internationally: Germany, Bulgaria, Thailand, India, Japan, Poland, Sweden, Russia, Romania, Finland.

Erika Hanson Erika Hanson
Workshop: Textile Construction and Structures Workshop
Erika Lynne Hanson
creates weavings, videos, and installations that connect diverse materials, histories, and places. Running through her work is a concern with the idea of landscape; specifically how landscape exists, by definition, as a view or representation—a space or scene that can never be reached physically. Hanson received a MFA from California College of the Arts, and holds a BFA in Fiber from The Kansas City Art Institute. Her work has been exhibited in various locations including Los Angeles, Kansas City, San Francisco, New York, Iceland, Chicago and Minneapolis. Hanson is a Charlotte Street Foundation Visual Art fellow and has been artist in residence at Real Time and Space in Oakland CA, and The Icelandic Textile Center in Blonduos, IS. In 2012 she CO-Founded 1522 Saint Louis, an experimental project space in Kansas City. Hanson is currently Assistant Professor of Fibers/Socially Engaged Practices at Arizona State University.

Hilary Harp Hilary Harp
Panel: Hidden Signals: Electronic Sculptures in the Information Age
Workshop: Arduino Controlled Drawing Machine Workshop
Trained in sculpture at Parsons School of Design (BFA), Tyler School of Art (MFA), and at the Skowhegan School of Painting and Sculpture, Hilary Harp creates sculptures, new media projects and videos which explore new hybrid forms, and challenge categories, particularly categories of high and low, male and female, technology and craft. Harp has exhibited her work widely nationally and internationally since 1995. Since 2003 she has collaborated with Suzie Silver on a range of projects. Their videos have screened at over one hundred festivals on four continents and are distributed by the Video Data Bank. Harp’s awards include a Pew Fellowship in the Arts, a Heinz Creative Heights Grant, and an Arizona Commission on the Arts Project Grant. She has been awarded residencies at The Fine Arts Work Center, Provincetown, RI, Kohler Center for Arts/Industry in Sheboygan, WI and Djerassi Resident Artist Program in Woodside, CA. Recent projects have begun to integrate interactivity and data-visualization in sound-sculptures. Her installation Carrier Signal, created in collaboration with Reva Stone, was presented at at New Adventures in Sound Art in Toronto, Canada in 2014. Harp, is Associate Professor of Sculpture at Arizona State University.

Nancy HuntlyNancy Huntly
Panel: From Data to Metaphor: Integrating the Arts & Sciences
Nancy Huntly
, is a Professor of Biology and Executive Director of the Ecology Center at Utah State University. She studies community and human ecology, primarily in western North America, including mountains, deserts, sagebrush steppe, the Aleutians, and southeast Alaska. She has collaborated with mathematicians, social scientists, climate scientists, engineers, and other eco-environmental scientists to understand integrated ecology its mechanistic underpinnings in many places. Nancy works with policy-makers, community members, and other stakeholders to interpret and apply science to ecological and environmental problems. Nancy is a co-director of USU’s ARTsySTEM program and co-teaches a course on Biodiversity that integrates arts and sciences.

Ian IngramIan Ingram
Panel: Hidden Signals: Electronic Sculptures in the Information Age
Ian Ingram
is a Los Angeles-based artist interested in the manmade object's future as a willful entity and the nature of communication. He builds mechatronic and robotic systems that borrow facets from animal morphology and behavior, from the shapes and movements of machines, and from our stories about animals. These systems are often intended to cohabitate and interact with animals in the wild.

Ingram's recent works have been attempts to create a sort of messy web in the Umwelts of specific non-human species and human beings by creating behavioral objects that--in scale, form, agency and gesture--make signals truly meaningful to the non-human species but often in a human-like narrative context. The robots are trying to communicate with the animals and, in part, allow human communion with those animals in ways that our own bodies and Umwelts don't allow. That human narrative stamps itself heavily onto the work is confirmed by these becoming things like a hermaphroditic sexbot for Pileated Woodpeckers and a NORAD equivalent for Grey Squirrels.

Ingram has exhibited his work internationally including at the Andy Warhol Museum; MOMA Toluca City, Mexico; Art Chicago; the Yada Gallery in Nagoya; Purdue University; and Eyelevel Gallery in Halifax; with a recent solo show at Nikolaj Kunsthal in Copenhagen.

Donna Isaac Donna Isaac
Panel: Workshop: Artist & Maker – How Digital Moves to Analog
Donna Isaac
has been Director of Scottsdale Public Art since 2013 and has worked in public art for a decade. Prior to that, Ms. Isaac focused on cross-cultural communication and worked in public process both nationally and internationally on cross cultural facilitation, consensus building, and program evaluation. She has brought this expertise to her work in public art - engaging community through interactive events, exhibitions, storytelling and addressing art and social practice. In her work with Scottsdale Public Art, Ms. Isaac has overseen the development of event-based art and building temporary installations as a critical programming area for Scottsdale Public Art.

Ms. Isaac has worked internationally as a lecturer, journalist, and art critic. She has worked on public process and civic engagement projects in the Balkans with the Nanson Institute in Norway and has been a Mansholdt Fellow in the Netherlands.

Adriene JenikAdriene Jenik
Activity: Desire Lines: Women Walking as Making
Adriene Jenik
is a Professor and Director of the School of Art in the Herberger Institute for Design and the Arts at ASU. She is a telecommunications media artist who has been working for over 20 years as a teacher, curator, administrator, and engineer. Her works combine "high" technology and human desire to propose new forms of literature, cinema, and performance. Jenik has consistently moved among and between media. This insistence on expressing herself and her ideas on many levels (musical composition and performance, math/logic/programming, poetry, drawing/painting, videography) finds a well-suited home in her computer-based interactive projects that have been presented and screened internationally and nationally. Jenik's work has been reviewed and discussed in The New York Times, Parachute, The Independent, Jumpcut, The Village Voice, Afterimage, Art Papers, Artlink, Modern Fiction, and Salon Magazine. In addition, her creative writing and essays have been published in The Drama Review, High Performance, Felix, The L.A. Weekly, Off Video, Heresies, and The Utne Reader. Her awards include a Rockefeller Foundation Fellowship in New Media, and commissions from Franklin Furnace Archives Future of the Present internet performance series, San Jose Zero One Festival, and UCLA Performance Studies. Throughout the year Jenik offers Silent Hikes/Holy Hikes in the Sonoran desert through the Museum of Walking.

Mark Lee-Koven Mark Lee-Koven
Panel: From Data to Metaphor: Integrating the Arts & Scineces
Mark Lee-Koven
is an Assistant Professor, Foundations Coordinator in the Department of Art + Design at Utah State University and Director of ARTsySTEM. Since earning his MFA in digital media from the University of Miami, he has worked as an interdisciplinary artist whose work combines processes of art with science. His work has been exhibited in over 100 exhibitions and art venues nationally and internationally, with topics including anthropology, ecology, sociology and renewable energy. His interests have focused on moving the arts from its more typical integration with scientific research, that of communication, education and visualization, to its inclusion in the origination and process throughout a scientific research initiative. Currently his projects center on energy and climate data used to create objects and environments that personalize, impart information, and examine perceptions such as drought and flood.

Lieyi Shen Shen Lieyi
Panel: Border Interventions
Shen Lieyi
has worked at the China Academy of Art since 2002, engaging in the teaching and creation of public art. He graduated from the China Academy of Art, Department of Sculpture, and is now the director of China Sculpture Institute, vice president of Zhejiang Sculptors Association, and the executive deputy director of the Department of Public Space Art at the China Academy of Art.

In April 2012, Shen Lieyi participated in The 4th West Lake International Sculpture Invitational Exhibition in Hangzhou. Shen has received numerous public art-related awards and honors, including the Example Prize of “Artistic Projects of Public Facilities”, in the 2012 National Excellent Urban Sculpture Construction Project held by National Urban Sculpture Construction Steering Committee for a Public Art Work Design Project in Xiaoshan Airport T3 Terminal; the work Boat, located in Basel St. John Park, was presented to Basel, Switzerland in 2012 by the Shanghai municipal government as a gift; and the work Water in West Lake, located in Southern Song Imperial Street, received the “Excellent Prize” in the 2010 National Excellent Urban Sculpture Construction Project held by the National Urban Sculpture Construction Steering Committee.

Heather Sealy Lineberry Heather Sealy Lineberry
Activity: Desire Lines: Women Walking as Making
Heather Lineberry
is Senior Curator/Associate Director at the ASU Art Museum and curates contemporary art exhibitions with an emphasis on new art forms, collaborations across disciplines and experimental curatorial approaches. Lineberry has curated exhibitions exploring a broad range of art forms including New American City: Artists Look Forward, Art on the Edge of Fashion (traveled nationally), Jim Campbell – Transforming Time – Electronic Works, Sites Around the City: Art and Environment (a citywide series of exhibitions and programs), The Long Day: Sculpture by Claudette Schreuders (traveled nationally), Gravity Was Everywhere Back Then, Installation by Brent Green (US Premiere) and Miracle Report: Julianne Swartz and Ken Landauer (a Social Studies project). In 2007, the New American City project, which she co-curated with John Spiak, received the President’s Medal for Social Embeddedness at ASU. Lineberry’s exhibitions and accompanying catalogs have traveled to museums across the U.S., including Business As Usual/New Video from China/Cao Fei and Yang Fudong (co-curated with Marilyn Zeitlin), Intertwined: Contemporary Baskets from the Sara and David Lieberman Collection, and Crafting a Continuum: Rethinking Contemporary Craft (co-curated with Peter Held and Elizabeth Kozlowski). Lineberry is working with the Museum of Walking on a large-scale project for Spring 2017.

Andrea Lucky Andrea Lucky
Panel: From Data to Metaphor: Integrating the Arts & Sciences
Andrea Lucky
is an evolutionary biologist and biodiversity scientist with a focus on insects, and her training is specifically in the evolution of ants. The tools she uses range from insect morphology to molecular genetics to phylogenetic statistics to remote sensing. These tools allow her to answer questions about the relationships among different species of ants and the timing of diversification that have led to the distribution patterns we see today. In addition to her research interests, a major goal of her work is to make science accessible and available to the general public, particularly to make the process of ‘doing’ science accessible to non-scientists.

Billie Grace Lynn Billie Grace Lynn
Panel: Travel, Landscape, and the New Frontiers in Sculpture
After studying philosophy and religious studies as an undergraduate at Tulane University in New Orleans, Billie Grace Lynn went on to earn an MFA in Sculpture at the San Francisco Art Institute. She is currently an Associate Professor of Sculpture at the University of Miami.

She has had solo exhibitions of her work in California, Florida, New York, Pennsylvania, Washington, and in China, and has participated in numerous group exhibitions, including shows at the Museum of Art & Design in New York City, the Museum of Contemporary Art in Georgia, SPACES Gallery in Cleveland, Yerba Buena Center for the Arts in San Francisco, and the Bernice Steinbaum Gallery and MOCA/Goldman Warehouse in Miami, as well as an exhibition traveling throughout Germany. Her most recent solo exhibitions were at the Boise Art Museum and John Michael Kohler Arts Center. Billie has also won several awards and fellowships, including a 2007 South Florida Cultural Consortium grant, and fellowships from Art Matters and the Skowhegan School of Painting and Sculpture. In 2011 she won the West Prize awarded by the West Collection. She has participated in artist residencies at the Headlands Center for the Arts, the Atlantic Center for the Arts, and the Skowhegan School of Painting and Sculpture.

Christopher Olszewski Jarrett Moe
Workshop: Continuing the Conversation: Identity in Landscape – exploring connections between art, landscapes and architecture across the American West
Jarrett Moe
is an artist and designer currently living, working and studying in Park City, Utah. His interest lies in site-specific art and design which expresses the essential characteristics of both place and time. Jarrett grew up hunting, fishing, skiing, biking & hiking across the north woods of Minnesota and Wisconsin before moving to Utah in 2001. The love of outdoor activities has embedded the importance of both physical and cultural landscapes throughout his work.

Jarrett earned his M.Arch from the University of Utah in 2014 as well as a BFA in ceramics from the University of Wisconsin – Eau Claire in 2000 and has received numerous awards and scholarships for both his art and design works. Exploring the relationship between the individual and the land in which one inhabits has always been a central theme to his work.

As the recipient of the 2014 Bailey Traveling Fellowship from the University of Utah, his recent studies have focused on the American West by surveying influential land art, landscapes and significant architecture across the region. Past adventures include volunteer design and construction work in rural Nepal as well as the study of post Tsunami damage and recovery efforts in the Tohoku region of Northeast Japan.

Mary Bates Neubauer Mary Bates Neubauer
Workshop: Artist & Maker – How Digital Moves to Analog
Mary Bates Neubauer
has shown her work widely, and she has completed many public art projects in the western states, including interactive sculptural works. In the past 5 years, her sculptures and digital images have appeared in national and international exhibitions at galleries and museums in New York, Paris, Beijing, and Adelaide. Working at the intersection of art and science, she exhibits with organizations including Ars Mathematica, and Art-Science Collaborations. She has been a visiting artist at the American Academy in Rome, a Fulbright Fellow in Cambridge England, and a Ford Fellow at Indiana University, Bloomington. Recent residencies include Garfagnana Innovazione (Digital Stone Carving in Italy), Anderson Ranch Center for the Arts, the Tyrone Guthrie Center at Annaghmakerrig, Ireland, the Vermont Studio Center, and the John Michael Kohler Arts and Industry Residency.

Christopher Olszewski Christopher Olszewski
Panel: Travel, Landscape, and the New Frontiers in Sculpture
As an active member of the Chippewas of Mnjikaning First Nation, Christopher Olszewski has developed his aesthetic from the creative visual language of the Northern Woodland people. His work is rooted in western painting traditions, as well as being trained in the modernist/postmodernist philosophy of art. He also has a fascination with the ancient Native American world and how it interacts with current times. His goal is to develop the Native American image beyond the “Souvenir Shop” and to depict actual people struggling with the encroachment of the dominant contemporary culture.

As an artist operating in a multicultural society and living in the global ethnic context, his cultural identity is one of the focal points of his work. He is a completely assimilated Native American and his paintings are a philosophical inquiry and contemplation of this existence. The investigation of his cultural identity is based on superficial, mass consumed imagery, and he draws connotations to the disparate images of Native American stereotypes. Olszewski earned a BFA in painting and drawing from Wayne State University, and a MFA in sculpture from the University of Kentucky. He is a professor of foundation studies at Savannah College of Art and Design.

Michael O’Malley Michael O’Malley
Panel: Travel, Landscape, and the New Frontiers in Sculpture
Michael O’Malley
was born in South Bend Indiana, and grew up in Northern California. He went to high-school in Colorado and received a B.A. in English from the University of Notre Dame. After extensive travels, and a B.F.A from the New York State College of Ceramics at Alfred University, he did his M.F.A at Stanford University. While there, he focused on large-scale installations that altered perceptual and social situations of the body. After graduate school, his work has focused on engaging the aesthetics and conventions that shape the built environment. In his latest work, ideas about social practice, community and sustainable art practice have become his focus. He is currently growing wheat and building a mobile bakery that he will take on the road for workshops and performances. He lives and works in Los Angeles and the Catskills of New York.

Emily PuthoffEmily Puthoff
Panel: Outwardly Mobile: Wanderlust and Physical Mobility
in Contemporary Sculptural Practice

Emily Puthoff's
artwork slips out the door to intervene and interact in a curious way. She has deployed a portable apparatus to elicit surrender, wandered with rolls of sod on her back through desert suburbs, mobilized a free-speech flat-pack (a pop-up protest kit). She is currently roving the country with a custom-built teardrop trailer to gather ideas about progress. While her work addresses social concerns, an element of humor in the work often disarms the viewer and allows for deeper engagement.

She is a recipient of: a 2011 NYFA Artist's Fellowship in Digital and Electronic Arts and the Artist in the Marketplace Fellowship at the Bronx Museum for the Arts, as well as artist residencies at the European Ceramic Work Centre (s'Hertogenbosch, Netherlands), Women’s Studio Workshop (Rosendale, NY), Sculpture Space (Utica, NY), and Banff Art Center (Banff, Canada). Her artwork has been exhibited widely including at: The Neues Kunstforum (Cologne, Germany), The Art House at the Jones Center (Austin, TX), The Wassaic Project (Wassaic, NY), Radiator Gallery (Queens, NY), and KMOCA (Kingston, NY). She earned her MFA from ASU in 2002. She is an Associate Professor of Sculpture at the State University of New York at New Paltz.

Steve Rossi Steve Rossi
Panel: Outwardly Mobile: Wanderlust and Physical Mobility
in Contemporary Sculptural Practice

Steve Rossi’s
interdisciplinary practice incorporates sculpture, photography, and performative actions while addressing issues and ideas related to systems of social organization, the hand-made and the mass-produced, permanence and ephemerality, and notions of community and shared experience in contemporary culture. He received his BFA from Pratt Institute in 2000 and his MFA from the State University of New York at New Paltz in 2006. His work has been exhibited at Dorsky Curatorial Projects, Eco Art Space, Open Engagement Conference at the Queens Museum, Bronx Art Space, the Wassaic Project, and the John Michael Kohler Art Center among others. He is currently an adjunct professor in the Art Department at Westchester Community College and the Instructional Support Technician in the Sculpture Department at the State University of New York at New Paltz. He grew up in Pittsburgh, Pennsylvania and now lives in Beacon, New York.

Cherie Sampson Cherie Sampson
Panel: International Site-Specific Artists and Locals Join Forces
to Celebrate the Identity of a Site

Cherie Sampson
has worked for 25 years as an interdisciplinary artist in environmental performance, sculpture and video art. She has exhibited internationally in live performances, art-in-nature symposia, video screenings and installations in the US, Finland, Norway, Holland, Cuba, France, Greece, Italy, Spain, Hong Kong, and other countries. Recent solo exhibitions and performances include Purificación - a weeklong performance series at Tufiarte, Gran Canaria, Spain and Puut Punalle Maat Sinelle (Red the Trees & Green the Land) at the Pori Art Museum in Pori, Finland.

Cherie is the recipient of a number of fellowships & grants including two Fulbright Fellowships, a Finnish Cultural Foundation Grant, three Finlandia Foundation Grants and multiple internal research grants for artistic projects from the University of Missouri. Cherie divides her time between the University of Missouri where she is an Associate Professor of Art and her organic farm in Northeast Missouri where she initiates and creates many of her art works in the wooded and cultivated environments. She received her Master of Fine Art Degree in Intermedia & Video Art from the University of Iowa, 1997 with a minor in Sculpture.

Richard SaxonRichard Saxton
Panel: Outwardly Mobile: Wanderlust and Physical Mobility
in Contemporary Sculptural Practice

Richard Saxton
is an artist, designer, and educator whose work focuses primarily on rural knowledge and landscape. Saxton’s work is conceived through an interdisciplinary cultural framework, and can be contextualized through social and site-based art practice. His work has been described as contemporary vernacular, non-heroic, and an art infused with rural experience without subscribing to any one genre or culture. Saxton is the founder of the M12 Collective, an interdisciplinary group that develops projects through dialogical and collaborative approaches and supports art making in rural and remote areas. Overall, his practice celebrates the value of often under-represented rural communities and their surrounding landscapes.

Saxton is the co-editor of A Decade of Country Hits: Art on the Rural Frontier (Jap Sam Books 2014). Recent works and projects have appeared at The Santa Fe Art Institute, The Venice Biennale of Architecture (2012); The Kalmar Konstmuseum in Sweden; Franklin Street Works; Wormfarm Institute; The Australian Biennial SPACED (2011); The Biennial of the Americas (2010); The Center for Land Use Interpretation; The Contemporary Museum in Baltimore; Wall House #2 Foundation in the Netherlands, and The Irish Museum of Modern Art in Dublin.

Shawn Skabelund Shawn Skabelund
Panel: Border Interventions
Shawn Skabelund
grew up in the small logging village of McCall, ID, in the mountains of Payette National Forest. His fondest childhood memories were of days picking huckleberries. The landscapes Shawn lives in becomes his studio, not as subject matter to draw or paint, but instead to observe, discover and collect materials in order to create new landscapes and new forms.

His work focuses on what Wendell Berry calls the “unsettling of America,” namely, the effects, the marks, and the changes that humans make on the land and cultures of a given area. His installations are designed to give viewers time and space to think about the local communities, economies, and ecosystems they inhabit. As a site-specific, place-based installation artist, Shawn has been exploring historical and contemporary manifest destiny for over two decades in venues across the United States. Shawn's work can be viewed at:

John SlepianJohn Slepian
Panel: Hidden Signals: Electronic Sculptures in the Information Age
John Slepian's
artwork has been shown at P.S.1/MoMA and Hunter College Art Galleries in New York, the Exploratorium in San Francisco, Axiom Gallery, Boston Cyberarts Gallery, and the Boston Center for the Arts in Boston, and the Re-New Digital Art Festival in Copenhagen, Denmark. It will be featured in the upcoming 21st International Symposium on Electronic Art in Vancouver, CA. Slepian exhibits with the Catharine Clark Gallery in San Francisco and is has shown with the COLLISIONCollective in Boston for the last eight years. He was a resident in the P.S.1 National Studio Program in 2002-2003, and in 2005-2006 was awarded a New York Foundation for the Arts grant in Computer Arts and in 2014 was co-awarded a Connecticut State Artist Fellowship for his work with Adele Myers and Dancers. Slepian graduated from the San Francisco Art Institute in 2002 with an MFA in New Genres, and he is currently an Associate Professor of Art and Technology at Hampshire and Smith Colleges in Western Massachusetts.

StallingsTyler Stallings
Panel: Border Interventions
Tyler Stallings
is the UCR ARTSblock interim executive director at University of California, Riverside. He was chief curator at Laguna Art Museum prior to his arrival at UCR in 2006. His curatorial projects focus on contemporary art, with a special emphasis on the exploration of identity, technology, photo-based work, and urban culture. Exhibitions that he has curated, most of which are accompanied by major catalogs and books, include Mundos Alternos: Art & Science Fiction in the Americas (co-curator, working title, Getty Foundation Pacific Standard Time: LA/LA) (2017), Free Enterprise: The Art of Citizen Space Exploration (co-curator, 2013), Lewis deSoto & Erin Neff: Tahquitz (2012), The Great Picture: The World’s Largest Photograph & the Legacy Project (2011), Margarita Cabrera: Puslo y Martillo (Pulse and Hammer) (2011), Mapping the Desert/Deserting the Map: An Interdisciplinary Response (co-curator, 2009), Intelligent Design: Interspecies Art (co-curator, 2009), Your Donations Do Our Work: Andrea Bowers and Suzanne Lacy (2009), Absurd Recreation: Contemporary Art from China (2008), Truthiness: Photography as Sculpture (2008), and The Signs Pile Up: Paintings by Pedro Álvarez (2007), CLASS: C presents Ruben Ochoa and Marco Rios: Rigor Motors (2004), Whiteness, A Wayward Construction (2003), Surf Culture: The Art History of Surfing (co-curator, 2001), Desmothernismo: Ruben Ortiz Torres (1998), and Kara Walker: African’t (1997). He has also contributed scholarly essays to several books such as Backyard Oasis: The Swimming Pool in Southern California Photography, 1945-1980 (2012), is the co-editor of the anthology, Uncontrollable Bodies: Testimonies of Identity and Culture (Seattle: Bay Press, 1994), and is a columnist for KCET-TV’s Artbound program. His most recent book, Aridtopia: Essays on Art & Culture from Deserts in the Southwest United States (Blue West Books, 2014), is a literary mirage that fuses present day reality and a future imaginary which repositions our view of the world from that of the desert. For more information,,,

Panel: Hidden Signals: Electronic Sculptures in the Information Age
is an internationally recognized artist, who has been exhibiting worldwide since 1984. His artworks have won twenty international art prizes and art awards including:- Vidalife 6.0 First Prize, SeNef Grand Prix, and Videobrasil First Prize. His art has also been rewarded with a prestigious Nesta Dreamtime Award, an Arts Humanities Creative Fellowship and a Clarks bursary award. His work has been exhibited in over fifty exhibitions globally, including the Venice Biennale, Victoria Albert Museum, Tate Britain, Mundo Urbano Madrid, State Museum, Novorsibirsk, Biennale of Sydney, Museo Tamayo Arte Contemporáneo Mexico, and the Sao Paulo Biennale. Stanza is an expert in arts technology, CCTV, online networks, touch screens, environmental sensors, and interactive artworks. Stanza's artworks explore artistic and technical opportunities to enable new aesthetic perspectives, experiences and perceptions within context of architecture, data spaces and online environments. Educated in fine art at Goldsmiths College in the early eighties he later went on to study at Greenwich University and Central Saint Martins Art College London. Stanza returned to Goldsmiths College as a AHRC arts research fellow. He is a pioneer of net art and was one of the first to use internet art as a medium.

Paul Stout Paul Stout
Workshop: Arduino Controlled Drawing Machine Workshop
Paul Stout
is an Associate Professor in the Department of Art and Art History at the University of Utah. He teaches courses in studio art and sculpture/intermedia. His research and teaching interests are in sculpture, electronic and kinetic art, installation, and new media.

The focus of Paul’s art research is the interaction between technology, culture and nature. He is specifically interested in how the formation of our cultural perception in the west in the last several centuries has been the product of a growing adoration of and reliance on science and technology, and how we, as a society, use tangible technological explanations to describe the natural world. He is also interested in our culture’s understanding and representation of animals and the non-human. Paul has exhibited widely in many national and international art galleries, museums, and art centers. Professor Stout has participated in many teaching collaborations involving art and science at the University of Utah, the longest running project is with Erik Brunvand developing and teaching a combined Art/Computer science course in kinetic art and embedded systems.

Kade L. TwistKade L. Twist
Panel: Visionary Artists Navigating Cultural Geographies: An Introduction to the State of Arizona
Kade L. Twist
is an interdisciplinary artist working with video, sound, interactive media, text and installation environments. Twist's work combines re-imagined tribal stories with geopolitical narratives to examine the unresolved tensions between market-driven systems, consumerism and American Indian cultural self-determination. Mr. Twist is one of the co-founders of Postcommodity, an interdisciplinary artist collective. With his individual work and the collective Postcommodity, Twist has exhibited work nationally and internationally including the: Arizona State University Art Museum, Tempe, AZ; Art Gallery of Ontario, Toronto, CA; Chelsea Art Museum, New York, NY; National Museum of the American Indian, Gustav Heye Center, Smithsonian Institution, New York, NY; Museum of Contemporary Native Arts, Santa Fe, NM; Nuit Blanche, Toronto; Contour: 5th Biennial of the Moving Image, Mechelen, BE; Pennsylvania Academy of Fine Arts Museum; Site Santa Fe, Santa Fe, NM; Adelaide International; National Museum of of Art, Architecture and Design, Oslo; and the 18th Beinnale of Sydney. Postcommodity have been the recipients of grants from the Arizona Commission on the Arts, Smithsonian Institution, Harpo Foundation, Joan Mitchell Foundation, Art Matters, Creative Capital and the Native Arts and Cultures Foundation. In addition to his art practice, Twist is also a public affairs consultant specializing in American Indian health care, technology and community development with clients that include the Ford Foundation, Benton Foundation, Center for Community Change, National Congress of American Indians, Native American Public Telecommunications, Institute of American Indian Arts, American Dental Association and numerous American Indian Nations. Twist received his MFA in Intermedia from the Herberger Institute School of Art at Arizona State University. He is an enrolled member of the Cherokee Nation of Oklahoma.

Glenn Weyant Glenn Weyant
Panel: Border Interventions
Glenn Weyant
is a Tucson-based sound activist working with traditional and improvised instruments for more than four decades. Over the past two decades Weyant's sound work has been primarily focused on using a cello bow and implements of mass percussion to “play” the Sonoran Desert’s assorted ephemera, both natural and human. His sound work --- in particular amplifying and playing the Southern Arizona border wall, transforming it into a sprawling electro-acoustic instrument --- has been been featured internationally in films, books, photographs, audio recordings and museum installations. Weyant's most recent work is a three part suite composed entirely from City of Tucson field recordings titled: The Sonorous Desert City Project. In 2012 Weyant’s performance of John Cage’s 4'33" performed upon the Nogales Border Wall was included in the New York Public Library/John Cage Trust retrospective: John Cage Unbound: A Living Archive. To learn more visit:

James R. White James R. White
Workshop: Hands-On Neon Workshop
Professor James White
is a sculptor who has been producing art using emitted light since the late 1960s. His art is at once a playful interpretation of a dream, but then his interpretation of a simple daily experience. With symbolism throughout—chairs, spheres, and “human-like” figurines—most pieces are dominated by neon and other noble gasses. For artist James White, emitted light from neon tubes is almost magical, bathing each creation in colorful, emotion-inducing light, with neon (orange-red) and its cousin argon (blue), sometimes forcing an intense conversation with the viewer, to the point of playfully screaming. His architectural-scale public art installation Square Wave, created for University of Northern Iowa, was the largest single neon art installation ever built, at more than three acres.

James White teaches sculpture at Arizona State University in the Herberger Institute for Design and the Arts. Professor White exhibits his sculpture and neon art throughout the U.S. and internationally including in England, Scotland, Japan and China. He earned his BFA and MFA in art at Ohio University.

Christopher L. WilliamsChristopher L. Williams
Panel: Travel, Landscape, and the New Frontiers in Sculpture
Christopher L. Williams
is an artist and professor of art / design residing in Savannah, GA. He received his BA in Studio Art from Cortland College in Cortland, NY and his MFA in multidisciplinary practices from Mount Royal Graduate Program at The Maryland Institute College of Art in Baltimore, MD. He has taught for the past seven years at Savannah College of Art and Design in the School of Foundation Studies and Sculpture Department. Before moving to Savannah, he resided in Baltimore, MD, with adjunct appointments at The Corcoran College of Art + Design, Maryland Institute College of Art, and American University in Washington, DC. He has exhibited nationally, including public projects and installations in Baltimore, MD and Washington, DC. Williams’ recent artwork involves a text based earthwork project that investigates the southeast coast.

Kevin WilsonKevin Wilson
Panel: International Site Specific Artists and Locals Join Forces to Celebrate the Identity of a Site
Kevin Wilson,
Australian curator, has over 25 years of experience running galleries, supporting artists and building links between artists and community. In early 2000 Wilson founded Floating Land, a biennial international art in nature project on Queensland’s Sunshine Coast and directed the first three events. Floating Land was one of Australia’s first major international site specific out door sculpture projects intimately built within the community. The 2005 event extended to the local Steiner school where artists worked in collaboration with young children. Wilson has since developed site-specific sculpture projects in Brisbane and introduced a new sculpture residency program concept in country towns where artists and communities develop visionary sculpture concepts together. He has received numerous grants to explore community engaged art in London and the US and to research art and environment art nature projects in Europe. A former president of Artists in Nature International network, he has literature and fine art degrees, has been a practicing artist, and more recently an advocate for artists.

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