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Collaborators & Sponsors: Presented by the International Sculpture Center. Collaborators & Sponsors: Association for Public Art, The Atlantic Foundation, The Barnes Foundation, Digital Atelier, Eastern State Penitentiary, Fabric Workshop and Museum, Grounds For Sculpture, Moore College of Art & Design, Mural Arts Philadelphia, NextFab, Pennsylvania Academy of the Fine Arts, Philadelphia City Hall Visitor Center, Philadelphia Convention & Visitors Bureau, Philadelphia's Magic Gardens, The Seward Johnson Atelier, The Skyspace at Chestnut Hill Friends Meeting, Traction Company, and The University of the Arts. 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.

 
Bill Adair Bill Adair
Panel: Artists and Collections: To have; to hold; to take apart; to put together
Bill Adair
is director of Exhibitions and Public Programs at the Pew Center for Arts & Heritage. A graduate of the University of Pennsylvania with a BA in American history, Adair taught in the education departments at the Penn Museum of Archaeology / Anthropology and the Philadelphia History Museum. He founded an education department at the Institute of Contemporary Art (ICA) at Penn in 1988 and then earned a master's degree in cultural planning and policy at UCLA. Before coming to the Pew Center, he was the founding Director of Education and Community Outreach at the Rosenbach Museum & Library for twelve years, developing public engagement programs for diverse audiences. Adair is on the board of directors of the American Association of State and Local History and the Attic Youth Center.



Gina Adams Gina Adams
Panel: Indigenous Sculptors Respond: Who's Monuments, Who's History, and Who Decides?
Gina Adams
spent her early youth in the San Francisco Bay, and then her adolescent and early adult years in Maine. Gina's formal education includes a BFA from the Maine College of Art and MFA from the University of Kansas, where she focused on Visual Art, Curatorial Practice, and Critical Theory. Gina Adam's cross-media, hybrid studio work includes the reuse of antique quilts and broken treaties between the United States and Native American tribes, sculpture, ceramics, painting, printmaking, and drawing. Her work is exhibited extensively throughout the US and resides in many public and private collections. The noted international art critic Lucy Lippard wrote the introduction on her artwork for her Nerman Museum of Contemporary Art Exhibition Its Honor Is Here Pledged which launched her art career and body of work Broken Treaty Quilts into a new contemporary art arena in 2015. In 2016 she was SARF Smithsonian Artist Research Fellow, and had Its Honor Is Hereby Pledged exhibitions in Boulder, Colorado at Naropa University's White Cube Gallery where she is a Faculty in Visual Arts. In the summer of 2017, Gina presented and exhibited at the AIW Conference at Goldsmiths College, University of London, England which will be followed by an exhibition at the Bemis Center of Contemporary Art titled Monarch's curated by Risa Puleo. 2018 brings many exciting opportunities for Gina including the Portland Museum of Art Biennial in Portland, Maine and being Artist-in-Residence at Dartmouth College which includes a Solo exhibition, a Kohler Arts Industry/Residency, and several more.




George Ampratwum George Ampratwum
Panel: blaxTARLINES: Traversing a Space Within and Without Art
George Ampratwum
is an artist, exhibition maker, art market professional, and a lecturer at the Kwame Nkrumah University of Science and Technology-Kumasi. He is one of the leading cadre of avant-garde tutors in the Department of Painting and Sculpture, KNUST which spearheaded the radical ruptures and resurgence of young Ghanaian contemporary artists on the world stage. Born in 1977, Kumasi, he completed his first degree in Fine Art at KNUST, and graduated in Kingston University-London with an MA degree in Arts Market (History, Professional practice, and Museum Studies). He is finalizing his PHD research on 'Mapping Exhibition Histories and Cultures in Ghana since the 1960s; A Critical Perspective'; which will be completed in 2018 at KNUST. As one of the leaders of blaxTARLINES, he served as one of the Artistic Directors in a trilogy of exhibitions (2017 Orderly Disorderly, 2016 Cornfields in Accra, 2015 the Gown must go to Town ) held at the Museum of Science and Technology- Accra which featured the works of emerging contemporary artists/curators such as Jeremiah Quashie, Ibrahim Mahama, Bernard Akoi-Jackson, and established artists such as Ablade Glover, Edwin Bodjawah, Prof. El Anatsui (Guest of Honor), Goddy Leye and selected students.




Penny Balkin Bach Penny Balkin Bach
Panel: Mapping Social Spaces
Penny Balkin Bach
is the Executive Director and Chief Curator of the Association for Public Art (aPA), chartered in 1872 as the nation's first non-profit organization dedicated to the integration of public art and urban planning. Bach is an internationally recognized and award-winning leader in the field of public art. Her work is distinctively positioned at the intersection of art, architecture, landscape design, celebration, performance, and public history. Her activities include the exploration of innovative approaches to public art and its audiences, the promotion and interpretation of art in public places, and advocacy of responsible stewardship of public art. She is the author of Public Art in Philadelphia and has written and lectured extensively about art and the environment.






Rina Banerjee Rina Banerjee
Curator Jodi Throckmorton in Conversation with Artist Rina Banerjee
Rina Banerjee
was born in Calcutta, India in 1963. She grew up in London, England, and eventually moved to New York, NY. She received her Bachelor of Science degree in Polymer Engineering at Case Western University in 1993 and took a job as a polymer research chemist upon graduation. After several years, she left the science profession to receive her Masters in Fine Arts from Yale University in 1995. Banerjee's work has been exhibited internationally, including but not limited to New York, NY; Paris, France; London, England; Tokyo, Japan; Los Angeles, CA; New Delhi, India; Milan, Italy; Singapore; and notably a solo exhibition at the Smithsonian in Washington, DC in 2013. The artist's works are also included in many private and public collections such as the Whitney Museum of American Art, New York, NY; San Francisco Museum of Modern Art, San Francisco, CA; Centre George Pompidou, Paris, France; Pennsylvania Academy of Fine Arts, Philadelphia, PA; Queens Museum, Queens, NY; and the Brooklyn Museum, Brooklyn, NY. Rina Banerjee currently lives and works in New York City. In conjunction with her mid-career retrospective at the Pennsylvania Academy of the Fine Arts (PAFA) in Philadelphia, Rina Banerjee will discuss the vivid paintings and sculptures that she makes from materials sourced throughout the world with PAFA Curator of Contemporary Art Jodi Throckmorton. Banerjee is a voracious gatherer of objects—in a single sculpture one can find African tribal jewelry, colorful feathers, light bulbs, Murano glass, and South Asian antiques in conflict and conversation with one another. Through this expansive work, Banerjee makes visible the transnational movement of people and objects and the social and economic inequalities that are inherent to these exchanges.




Margot Berg Margot Berg
Presentation: Philadelphia's Public Art Landscape
Margot Berg,
Public Art Director, Office of Arts, Culture and the Creative Economy. Margot has served in her current capacity as Public Art Director since October 2006, overseeing the City’s Percent for Art Program – commissioning new site-specific public art in City construction projects – as well as the Public Art Conservation and Collection Management Programs. Margot has a BA in sociology from the University of Delaware, a Master’s Degree in city planning from the University of Pennsylvania, and over twenty years of experience working in the public and nonprofit sectors in community planning and arts administration, including sixteen years in public art administration. Her preservation program was awarded a 2015, 2016 and 2018 Grand Jury Award of the Preservation Alliance of Greater Philadelphia. She is the author of the 2015 A Guide to Public Art in Philadelphia.





Robert Blackson Robert Blackson
Panel: Mapping Social Spaces
Robert Blackson
is the founding director of Temple Contemporary at Temple University's Tyler School of Art. Prior to moving to Philadelphia from the UK in 2011, Blackson was curator of public programs at Nottingham Contemporary and curator of BALTIC Centre for Contemporary Art, Newcastle/Gateshead. At Temple Contemporary, Blackson has initiated Funeral for a Home, (2013), reForm with Pepón Osorio (2014), Symphony for a Broken Orchestra (2016-2018), and 1000 Ways to Listen (2018).







Edwin Bodjawah Edwin Bodjawah
Panel: blaxTARLINES: Traversing a Space Within and Without Art
Edwin Kwesi Bodjawah
is a senior lecturer at the Department of Painting and Sculpture, Kwame Nkrumah University of Science and Technology, where he has been Head of Department and Dean of the Faculty of Art. He researches into issues related to contemporary art and art education on the African continent as well as serial reproduction of African mask forms. He has an active studio, has participated in a number of group exhibitions in recent years, and had a solo at the Cape Coast castle in 2017. Critical to Bodjawah's current practice is his ritual surfing of the internet to select images of masks that have found their way into museums of the global north and reproducing them serially through a hybrid of artisanal and semi-mechanical means, collaborative manufacture, and display. He holds an MFA in Sculpture and a PhD in Painting and Sculpture from the same university. Bodjawah is a principal Trustee and Patron of blaxTARLINES, an art incubator and project space affiliated with the KNUST Fine Art Department in Kumasi.





Liene Bosquê Liene Bosquê
Panel: Artists and Collections: To have, to hold; to take apart; to put together
Liene Bosquê
is a visual artist and art educator based between New York and Miami. She holds a MFA from the School of the Art Institute of Chicago, a BFA from the São Paulo Estate University, and a BA in Architecture and Urbanism from the Mackenzie University, both in her native Brazil. Bosquê was artist in residency at the Lower Manhattan Cultural Council Workspace and received the Emerging Artist Fellowship from the Socrates Sculpture Park, both in NY. Bosquê's installations, sculptures, performances, and site-specific works have been exhibited internationally at locations such as MoMA PS1, the Museum of Contemporary Photography in Chicago, and among other nonprofit galleries and public spaces in Brazil, Portugal, Italy, South Korea, and United States. In addition to serving as a mentor for the New York Foundation for the Arts' Mentoring Program for Immigrant Artists, Bosquê's experience includes teaching sculpture and fibers at Queens Museum and Tyler School of Art, at Temple University.



Gerald Clarke Gerald Clarke
Panel: Indigenous Sculptors Respond: Who's Monuments, Who's History, and Who Decides?
Gerald Clarke
is an enrolled member of the Cahuilla Band of Indians and currently lives on the Cahuilla Indian reservation. 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. He is also is a frequent lecturer, speaking about Native art, culture, and issues. He was recently re-elected to the Cahuilla Tribal Council and works on local, state, and federal issues affecting the tribe. When not working, Clarke participates in Bird Singing, a traditional form of singing that tells the cosmology of the Cahuilla people.





Leah Douglas Leah Douglas
Presentation: Philadelphia's Public Art Landscape
Leah Douglas
, Director of Image and Chief Curator, is the founding director and curator of the Exhibitions Program at Philadelphia International Airport (PHL). Since 1998, she has curated and organized more than 400 exhibits that have featured artwork by Philadelphia area artists and arts institutions. Leah is responsible for the implementation of the Exhibitions Program siting temporary exhibitions throughout the airport facility. She is the chief curator who oversees all aspects of the Exhibitions Program including exhibition planning, exhibit design, community partnerships, and creative initiatives such as marketing strategies and special events. In 2013, USA Today voted PHL as one of the Top 3 Best Airport Art Programs in the United States. In 2014, PHL was the recipient of the Arts & Business Partnership Award: Large Business with an Arts Organization awarded by the Arts & Business Council of Greater Philadelphia. The Exhibitions Program has been featured in numerous articles in the Philadelphia Inquirer; Friday Arts, a program of WHYY, PBS’s Philadelphia affiliate; podcast by WHYY’s arts and culture reporter Peter Crimmins; and Billy Penn—“a mobile platform for a better Philly.”




Ellen Driscoll Ellen Driscoll
Panel: Expanded, Extended, Multi, Inter, and Transdisciplinary - Where is sculptural education today?
Ellen Driscoll's
work encompasses sculpture, drawing, and public art. Recent installations include CartOURgraphy for Middle College High School and the International High School in Queens, Night to Day, Here and Away for the Sarasota National Cemetery, and Bower with Joyce Hwang at Artpark. Earlier works include The Loophole of Retreat at the Whitney Museum at Phillip Morris, and As Above, So Below for Grand Central Terminal. Her awards include fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the Bunting Institute, the New York Foundation for the Arts, the Massachusetts Council on the Arts, the LEF Foundation, the Rhode Island Foundation, Anonymous Was a Woman, and a Fine Arts Award from the American Academy of Arts and Letters. Her work is in major collections including the Metropolitan Museum of Art, and the Whitney Museum of Art. She is Program Director of Studio Arts and Visiting Professor of Sculpture at Bard College. She has been awarded the Outstanding Educator of the Year award for 2018 from the International Sculpture Center.




Corin Hewitt Corin Hewitt
Panel: Expanded, Extended, Multi, Inter, and Transdisciplinary - Where is sculptural education today?
Corin Hewitt
received his BA from Oberlin College (1993) and his MFA from Bard College (2007). Solo exhibitions of his work include MOCA Cleveland, Whitney Museum of American Art, the Atlanta Contemporary Arts Center, the Seattle Museum of Art, Laurel Gitlen, Taxter and Spengemann, and Western Bridge, Seattle. His work has been included in group exhibitions at the Astrup Fearnley Museum of Modern Art, Oslo; Extra City Kunsthal, Antwerp; the Memmo Foundation, Rome; the Sao Paolo Biennial in Brazil ; the Whitney Museum, New York; the Henry Art Gallery, Seattle; Galerie Perrotin, Paris; with the Public Art Fund in New York; and the Wanas Foundation in Sweden. Hewitt was a recipient of the 2014-2015 American Academy Rome Prize, a Guggenheim Memorial Foundation Fellowship in 2011, and a Joan Mitchell Fellowship in 2010. In 2015, Mousse Publications released a 300-page monograph, entitled Seven Performances featuring six years of work in conjunction with his exhibition at MOCA Cleveland. Hewitt is an Associate Professor of Sculpture and Extended Media at Virginia Commonwealth University.




Nadia Hironaka & Matthew Suib Nadia Hironaka & Matthew Suib
Panel: Mediadrome: Building Space & Time With Film, Electronic, and Digital Media
Nadia Hironaka & Matthew Suib
employ the tools and conventions of moving-image culture to offer counter-mythical visions of our contemporary world. In doing so they re-construct existing narratives and envision new images that challenge popular understandings of History and Culture. The duo's large-scale, often immersive moving-image installations use original and appropriated imagery and unique soundtracks to invert social conventions and scramble history. Using a collage-oriented approach, Hironaka & Suib collide imagery and narratives that encompass historical fact and popular fiction, as well as speculative futures to expose and undermine the relationship between popular media and political power. The Philadelphia-based artists have been collaborators since 2008. They are recipients of several honored awards including a 2015 Guggenheim Foundation Fellowship, Pew Fellowships in the Arts and Fellowships from CFEVA and Pennsylvania Council on the Arts. Their work has been widely exhibited both domestically and abroad at venues including, Fondazione MAXXI (Rome), New Media Gallery (Vancouver), The Institute of Contemporary Art (Philadelphia), UCLA Hammer Museum, PS1/MoMA, Philadelphia Museum of Art and Arizona State University Art Museum. They have been artists-in-residence at the Headlands Center for the Arts, the Banff Centre, and the Millay Colony for Arts. Matthew Suib is co-founder of Greenhouse Media and Nadia Hironaka serves as a professor and department chair of film and video at the Maryland Institute College of Art. Hironaka & Suib are represented by Locks Gallery. The couple, along with their daughter and one cat reside in South Philly.




Rebecca Ann Keller Rebecca Ann Keller
Panel: Artists and Collections: To have; to hold; to take apart; to put together
Rebecca Keller
is an artist, writer, and professor from the School of the Art Institute of Chicago. Awards and honors include two Fulbrights; an American Association of Museums International Fellow; a TEDx talk, and grants from the National Endowment for the Arts, the College Art Association and the Illinois Arts Council. She has exhibited her work widely, including projects for the Museum of Contemporary Art, Chicago; Portland Art Museum; 4th Waldkunst Biennial in Darmstadt, Germany; Hyde Park Art Center; Jane Addams Hull House Museum; the International Museum of Surgical Science, Glessner House Museum, National Art Museum of Estonia; the Tartu Museum (Estonia) and many others. A book about her practice, Excavating History was released by Stepsister Press in 2012, and a second edition came out in 2015. Her work has been featured in Hyperallergic, MutualArt, Sculpture Magazine, Time-Out Chicago and elsewhere. She is also an award winning fiction writer.



Kwaku Boafo Kissiedu Kwaku Boafo Kissiedu
Panel: blaxTARLINES: Traversing a Space Within and Without Art
Kwaku Boafo Kissiedu
has an MFA from the Kwame Nkrumah University of Science and Technology, Kumasi Ghana. He is currently a lecturer in the Fine Art Department, where he and his colleagues have pioneered revolutionary changes in fine art pedagogy, leading to the turning out of emerging artists who are making waves worldwide. He was the Head of the Department from 2011 to 2013, a period that propelled the popularity of the department worldwide. His research interests include; Post-Colonial Art Education in Ghana, and The Ramifications of the Modernist Hegemony on Ghanaian Contemporary Art Practice. His teaching and practice highlight experimentations and new ways of seeing and making art. As an ardent art administrator, organizer, and facilitator of art and cultural programs, he has been involved with the making of cutting edge exhibitions and workshops in and outside Ghana. He is also a co-founder and the Administrative Coordinator of blaxTARLINES, Kumasi. Kwaku Boafo Kissiedu was a recipient of the Kestenbaum/Vijay Paramsothy International Fellowship Grant from Haystack Mountain School of Craft, Maine, in 2013 and the Schomberg Fellowship Grant for International Scholars, Ramapo College, New Jersey in 2009.



Nicole Marroquin Nicole Marroquin
Panel: Artists and Collections: To have; to hold; to take apart; to put together
Nicole Marroquin
is an interdisciplinary artist, researcher and public scholar whose current research looks at Chicago school uprisings between 1967-74. She has recently projects at the New School, the Newberry Library, Harold Washington Public Library, DePaul Museum of Art, Glass Curtain Gallery, Hull House Museum, Northwestern University, the Museum of Contemporary Art, University of Chicago and the Art Institute of Chicago for the symposium The Wall of Respect and People’s Art Since 1967. She has written essays for the Visual Arts Research Journal, Counter Signals, Chicago Social Practice History Series, Revista Contratiempo and AREA Chicago Magazine, and she participated in the 1ro Bienial Continental de Arte Indigenas Contemporaria at the Museo Nacional De Culturas Populares in Mexico City. She is a Sor Juana Inez de la Cruz Women of Excellence Awardee and an Associate Professor in the Department of Art Education at the School of the Art Institute of Chicago.





Da-ka-xeen Mehner Da-ka-xeen Mehner
Panel: Indigenous Sculptors Respond: Who's Monuments, Who's History, and Who Decides?
Da-ka-xeen Mehner (Tlingit/N'ishga)
uses the tools of family ancestry and personal history to build his art. Born in Fairbanks, Alaska to a Tlingit/N'ishga Mother and Hippy/American father his works stems from an examination of a multicultural heritage and social expectations and definition. In particular his work has focused on the constructs of Native American identity, and an attempt to define the Self outside of these constructs. Mehner has received a number of awards for his work including a 2015 USA Rasmuson fellowship, a 2015 Eiteljorg Contemporary Art Fellowship, and a 2014 Native Arts and Culture Foundation Artist Fellowship. Mehner is currently the director of the Native Art Center and Chair of the Art Department at the University of Alaska Fairbanks.




Rebecca Nagy Rebecca Nagy
Panel: blaxTARLINES: Traversing a Space Within and Without Art
Dr. Rebecca Nagy
recently retired after 16 years as director of the University of Florida's Harn Museum of Art. Throughout her career, Nagy has curated exhibitions and published articles and exhibition catalogues about medieval, contemporary, and African art. She co-organized the exhibition Continuity and Change: Three Generations of Ethiopian Artists (2007) with Achamyeleh Debela and worked with an international curatorial team from the Harn and the Royal Museum for Central Africa in Belgium to organize the traveling exhibition Kongo across the Waters (2014). Since 2016, Nagy has conducted research on contemporary art and artists in Ghana, and recently co-authored an article on the subject with Alissa Jordan for the journal African Arts, for which she serves as an editor. Prior to her appointment as director of the Harn, Nagy spent 17 years at the North Carolina Museum of Art in Raleigh, where she served as curator of African art and associate director of education. She was also an adjunct faculty member at the University of North Carolina, Chapel Hill. Nagy received her doctorate in art history from the University of North Carolina, Chapel Hill.



Patricia C. Phillips Patricia C. Phillips
Panel: Mapping Social Spaces
Patricia C. Phillips
is a writer and curator who focuses on public art, civic space, landscape, the environment - and the intersection of these areas. She is author of Mierle Laderman Ukeles: Maintenance Art (New York: Prestel, 2016), Ursula von Rydingsvard: Working (New York: Prestel, 2011), It is Difficult, a survey of the work of Alfredo Jaar (Barcelona: Actar Press, 1998), and editor of City Speculations (New York: Princeton Architectural Press, 1996). From 2002-07, she was Editor-in-Chief of Art Journal, a peer-reviewed quarterly on modern and contemporary art published by the College Art Association. Her curatorial projects include Disney Animators and Animation (Whitney Museum of Art, 1981), The POP Project (Institute for Contemporary Art/P.S. 1, 1988), Making Sense: Five Installations on Sensation (Katonah Museum of Art, 1996), and City Speculations (Queens Museum, 1995-96). She was co-curator (with Larissa Harris of the Queens Museum) of Mierle Laderman Ukeles: Maintenance Art (Queens Museum, 2016-17). She has held academic and administrative appointments at Parsons School of Design/New School for Social Research, State University of New York at New Paltz, College of Architecture, Art, and Planning at Cornell University, and Rhode Island School of Design. She currently is Chief Academic Officer/Academic Dean at Moore College of Art & Design in Philadelphia.



Tim Portlock Tim Portlock
Panel: Mediadrome: Building Space & Time With Film, Electronic, and Digital Media
Tim Portlock's
current work combines special effects software and the visual conventions of 19th-century American painting to creatively simulate contemporary cityscapes. In recent years, his large format print images have depicted imagined landscapes populated with the empty buildings that surround his home in Philadelphia, as well as developments in post-boom and bust Las Vegas. Other work utilizes large outdoor video projections onto buildings, creating temporary public art that incorporates new media and the visual language of murals while engaging with architecture and city space. Portlock has received a Pew Fellowship in the Arts. His exhibitions include SPRING/BREAK Art Show, PULSE New York, Broadstone Studios in Dublin as part of Photo Ireland (2012); the Tate Modern as a member of the artist collective Vox Populi (2011); Christie's London, represented by Philagrafika (2012); the International Guerrilla Video Festival in Dublin (2009); and This is Not a Gateway, a group exhibition of outdoor video projections in London (2009). Portlock has also exhibited at the 404 Festival in Argentina and Italy, the ISEA electronic arts festival in Japan, and Ars Electronica, Austria.





Joshua Reiman Joshua Reiman
Panel: Expanded, Extended, Multi, Inter, and Transdisciplinary - Where is sculptural education today?
Joshua Reiman
is an artist working in sculpture, film, video, and photography. His work has been exhibited in galleries and museums across the United States, in Germany, Estonia, and Morocco. He is currently an assistant professor of art at The Maine College of Art in Portland, Maine where he teaches in the MFA in studio art + sculpture, and serves as the sculpture program chair. Josh has an MFA in sculpture from Syracuse University and a BFA in sculpture from the Kansas City Art Institute. Exhibitions include the Portland Museum of Art, NAPOLEON Philadelphia, Hallwalls Buffalo, NY, NKV Wiesbaden, Germany, Space Gallery Portland, and The Albright-Knox Art Gallery in Buffalo, NY. Reiman is also a contributing writer for Sculpture magazine. Joshua and his wife Addy and son Ole currently live in an 1880's brick house in Portland, ME with their dog Otto R. Mutt.




Peter RosePeter Rose
Panel: Mediadrome: Building Space & Time With Film, Electronic, and Digital Media
Since 1968 Peter Rose has made over thirty films, tapes, performances, and installations. Many of the early works raise intriguing questions about the nature of time, space, light, and perception and draw upon Rose's background in mathematics and on the influence of structuralist filmmakers. His video installations have involved an examination of landscape, time, and vision and the most recent work, in 3D video, has investigated the possibilities for multi-dimensional vision. Rose has been widely exhibited, both nationally and internationally, having been included in shows at the Museum of Modern Art, the Whitney Biennial, the Centre Pompidou, the Philadelphia Museum of Art, the Film Society at Lincoln Center, and the Rotterdam International Film Festival. He has been awarded fellowships by the National Endowment for the Arts, the Guggenheim Foundation, the Pew Foundation, the Independence Foundation, and the Pennsylvania Council on the Arts, and is fond of writing descriptions in the third person.



C.Maxx StevensC.Maxx Stevens
Panel: Indigenous Sculptors Respond: Who's Monuments, Who's History, and Who Decides?
C.Maxx Stevens
is an Installation artist and Seminole/Mvskoke Nation from the Oklahoma Region. She is currently an Associate Professor of Art at the University of Colorado in Boulder, Colorado serving as the Foundation Arts Director in the Art and Art History Department. C.Maxx served as the Academic Dean of the Center for Arts and Cultural Studies at the Institute of American Indian Arts in Santa Fe, New Mexico. C.Maxx received her Masters of Fine Arts in 1987 from Indiana University, Bloomington, Indiana, received a Bachelor of Fine Arts in 1979 from Wichita State University, Wichita, Kansas and in 1972 an Associate of Arts Degree from Haskell Indian Junior College, Lawrence, Kansas. C.Maxx has been a recipient of many awards and honors such as 2014 Art Matters Grant in New York, New York, 2005 Eiteljorge Fellowship Award from the Eiteljorge Museum in Indianapolis, Indiana, 2000 Artist Grant from the Andrea Frank Foundation in New York, New York, 1998 Sculptor Award from the Joan Mitchell Foundation, Inc. in New York, New York, and 2013 Art Matters grant from the Art Matters Foundation in New York, New York. She has exhibited at the Smithsonian American Indian Museum Heye Center in New York City, New York; C. N. Gorman Museum, University of California at Davis, Davis, California; Eiteljorge Museum of Indian Art, Indianapolis, Indiana; Museum of Arts and Crafts, New York, New York; Center for Contemporary Arts, Santa Fe, New Mexico; Institute of American Indian Arts Museum, Santa Fe, New Mexico; Gordon Snelgrove Gallery, University of Saskatchewan, Saskatoon, Saskatchewan, Canada; The Montana Museum of Art and Culture, Missoula, Montana; Boise Art Museum, Boise, Montana; and White Mountain Academy Gallery, Elliot Lake, Ontario, Canada, to name a few.



Jodi Throckmorton Jodi Throckmorton
Curator Jodi Throckmorton in Conversation with Artist Rina Banerjee
Jodi Throckmorton
joined the Pennsylvania Academy of the Fine Arts as Curator of Contemporary Art in fall 2014. Prior to PAFA, she was Curator of Modern and Contemporary Art at the Ulrich Museum of Art at Wichita State University, and before Ulrich, she was Associate Curator at the San Jose Museum of Art. She organized the exhibition and publication Postdate: Photography and Inherited History in India (2015). Other projects include Melt/Carve/Forge: Embodied Sculptures by Cassils (2016); Alyson Shotz: Plane Weave (2016); Bruce Conner: Somebody Else's Prints (2014); Questions from the Sky: New Work by Hung Liu (2013); Dive Deep: Eric Fischl and the Process of Painting (2013); Ranu Mukherjee: Telling Fortunes (2012); and This Kind of Bird Flies Backward: Paintings by Joan Brown (2011).




Ling-Wen Tsai Ling-Wen Tsai
Panel: Expanded, Extended, Multi, Inter, and Transdisciplinary - Where is sculptural education today?
Ling-Wen Tsai
was born in Tainan, Taiwan. Her practice spans a broad range of mediums and disciplines including: sculpture, installation, performance, video, photography, painting, and drawing. She also integrates sound/music and body/movement into her artistic practice, and has collaborated with sound artists, musicians, composers, and choreographers. Tsai is Professor of Sculpture at Maine College of Art. She holds an M.F.A. in Sculpture from Washington University, a B.A. in Studio Art from Webster University, and a certificate in Landscape Architecture from Harvard University Graduate School of Design. She also holds a B.S. degree from Chung-Shan Medical University in Taiwan. Tsai has exhibited and performed her work nationally and internationally, including at: Cité Internationale des Arts (Paris, France); Siena Art Institute (Siena, Italy); Golden Parachutes (Berlin, Germany); Richmond Art Gallery (British Columbia, Canada); Tainan University of Technology (Tainan, Taiwan); Qasim Sabti Gallery (Baghdad, Iraq); Halim Bey Municipal Art Gallery (Mytilene, Greece); Asian Cultural Center (New York, NY); Goethe-Institute (Boston, MA); Contemporary Art Museum St. Louis (St. Louis, MO); Urban Institute for Contemporary Arts (Grand Rapids, MI); ARC Gallery (Chicago, IL); Bowdoin College Museum of Art (Brunswick, ME); Center for Maine Contemporary Art (Rockport, ME); Portland Museum of Art (Portland, ME).


Lauren Zalut Lauren Zalut
Panel: Mapping Social Spaces
Lauren Zalut
oversees guided tours, trains tour guides, and leads family and school programming at Eastern State Penitentiary Historic Site. Using the site as a catalyst for conversation and action on social issues, Lauren has worked to incorporate dialogue, lived experience in prison, and content about mass incarceration into guided visitor experiences. The reason she visited Eastern State for the first time was to see the site’s art installations!




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