Faculty Member Cauleen Smith @ Art Institute of Chicago

Human_3.0 Reading List

Through October 29, 2017
Gallery 124

Museum Hours

Open daily 10:30–5:00
Thursday until 8:00

Newspapers, magazines, and websites frequently offer lists: the 10 best new restaurants, the 50 top places to see in the world, the 100 best movies of all time. Chicago-based artist Cauleen Smith (American, born 1967) has created another kind of list, a new canon of humanistic literacy presented as a series of drawings. Titled Human_3.0 Reading List, the project represents a new dimension of Smith’s work, one that engages with the idea of a collective consciousness through manually drawn renderings of book covers.

In this series of 57 drawings—each produced on 8½ × 12- inch graph paper in watercolor over graphite, occasionally elaborated with acrylic—the artist proposes a selection of books that is both personal, conveyed by the frequent inclusion of fingers or a thumb shown holding up a given book, and idiosyncratic. Harriet Tubman, C. L. R. James, and bell hooks find their place alongside Starfish, Sea Urchins, and Their Kin by Nelson Herwig. Together the drawings ask challenging questions: Have you read these books? Will you read these books? What will they mean to you? What do they mean to us now? Which titles might be missing?

An artist whose primary discipline is film, Smith has incorporated various influences and references in her images—science fiction, the black diaspora, and the lyrical potential of landscape. She first garnered national recognition with her feature-length film Drylongso (1998), which she completed during her graduate training at UCLA’s film school. In 2010, Smith moved to Chicago, where her work has grown increasingly site-specific and engaged in social activism. She created the Solar Flare Arkestral Marching Band Project, which has organized flash-mob appearances of a marching band composed of youth groups from the city’s South Side. This and other recent works have explicitly invoked the legacy of pioneering composer and performer Sun Ra, whose music and elaborate self-defining mythology also propelled the broader artistic movement of Afrofuturism.

Grounded in a sober assessment of race relations and institutional power structures, Human_3.0 Reading List calls its viewers to prepare for social change through self-empowered education. In the final words of the manifesto accompanying the series, Smith exhorts her audience: “Love. Resist. Read on. Right on.”


Support for this exhibition is provided by the Print and Drawing Club of the Art Institute of Chicago.

Cauleen Smith. Wild Seed, from Human_3.0 Reading List, 2015. Promised gift of Helen and Sam Zell.

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Co-Chair Dalida María Benfield Collaborates In Barcelona

Gender, Collaboration and Counter-Memory in Migratory Times and Spaces

An afternoon intersecting interventions focused on technologies of collaboration to reimagine gender, history, memory, futures, and communities, with the collective projects Diasporas Críticas, Migratory Times, and the Museum of Random Memory.

Using as a taking off point the decolonial feminist philosopher María Lugones’ phrase “playfulness, world traveling and loving perception,” the public is invited to engage in these art based research projects that explore these actions as forms of reimagining and remaking social relations.


May 31, 2017
15:00 – 19:30 p.m.

Museu del Disseny de Barcelona
Floor -1 – Room B

Conducted by
The Museum of Random Memory/
Diasporas Críticas and Migratory Times
the Institute of (im)Possible Subjects


memoralize delete repeat












15:00 – 16:30The Museum of Random Memory
Conducted by MoRM: Museum of Random Memory/

“Do you have something you would like to remember? Something you think should be forgotten? We would like you to contribute to our temporary permanent collection.”

What is a memory?
What is it good for?
How do we remember?
How do we forget?

These are a few of the questions that are asked by the participants and creators of the Museum of Random Memory, an ongoing practice-based research project. The project and the work of the project (the creation of the archive and the museum itself) represent a deliberate attempt to directly engage difficult questions of ownership, archive, preservation, and mediation. What does it mean to take ownership of a memory? What can we do with it? What should we do with it? What do we do with it? How do we proceed and where do the lines of the analog and the digital collide with the lines of public, private, hidden and revealed? How do you build (and destroy) a museum in days? What is gained and what is lost?

For this event we, the UnCurators, will perform an iteration of the Museum.
Attendees will be invited to participate by submitting memories and engaging in the intake process.

16:30 – 17:00 – Coffee Break

17:00 – 18:30 Exercise in Radiofonization
Conducted by Diasporas Críticas & Migratory Times/the Institute of (im)Possible Subjects

This workshop is directed at trans-feminist artists, activists and poets with the aim of sharing research around the process of creating a manifesto, enunciation and the practices, histories and metaphors associated with radio, we propose an “exercise in radiofonization”. Part workshop and part performance of a radio recording-studio, this session puts into practice a range of pedagogical and affective techniques in the fields of voice, enunciation and reading.

This space offers an encounter with various enunciation tactics and invites participants to co-produce a performative “exercise in radiofonization”. Depending on the technical capabilities this can be emitted in connection with other online, free or community radios, or recorded for a future transmission. “Exercise in radiofonization” focuses on the transdiscursive and transtemporal conditions of the feminist and decolonial manifesto and how, like the apparatus of radio, it makes a curious incision across the literary, historical, political and artistic; past present and future.

18:30 – 19:30 – Roundtable discussion
With Dalida María Benfield, Anyely Marin Cisneros, Rebecca Close and Annette Markham.




The Museum was first conceived and performed in March 2016 at the CounterPlay Festival held in Aarhus. Over the following year, key participants transformed the ideas into a conceptual framework, which guided the creation of the second instantiation of the museum, presented again at the same festival in March 2017.  The museum is the sum of the efforts of more than a dozen artists, activists, academics, researchers and students working with the Creating Future Memories project at Aarhus University in Denmark. The Creating Future Memories project is one of the projects of the, a transdisciplinary space for research and public engagement.


Diásporas críticas is an open platform for artistic research. Diásporas críticas research explores and responds to the ways in which nationalisms intervene through micro-process to affect the body and the senses, researching notions of “transmission” and “contagion” in relation to mass media and technology as well as medical discourses and disease. They have received various research and production grants from academic and arts institutions. Throughout 2017 Diasporas criticas are preparing a research project entitled “Contralecturas Tropicales”. They are thinking: climate, cliche, sickness, poetic trope, surrealist dream, melodrama, medical theory, compass, geopolitical sex fantasy, cyclical time and exile.

Migratory Times is a global art, research, and education initiative to facilitate transnational dialogues on displacements and migration. Migratory Times constructs a translocal architecture for overlapping learning, research, and making circles across diverse sites including Bogotá, Colombia; Aarhus and Copenhagen, Denmark; Jeju and Seoul, S. Korea; Manila, Philippines; Barcelona, Spain; and Los Angeles, Salt Lake City, Detroit, and New York City, USA. Over the course of a year, 2016-17, cultural interventions, workshops, and publications are being produced in local sites as well as through virtual networks, using popular education and co-design strategies. Migratory Times is a project of the Institute of (im)Possible Subjects, a transnational feminist art, media and research collective.


Free entry.
Required Registration. Send us an email to:

+34 93 326 3470


Organized by:





D-Future Project/Mediaccions


In collaboration with:

morm-logo-master-final copia

The Museum of Random Memory


Migratory Times/the Institute of (im)Possible Subjects

Diasporas Críticas


Sponsored by:





Ministerio de Economía y competitividad de España (Ref. CSO2014-58196-P)






Museu del Disseny de Barcelona






Estudis d’Art I Humanitats de la Universitat Oberta de Catalunya












Future Making Research Consortium

Featured image: Diasporascriticas

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Three Visual Art Alumni Collaborate in Minneapolis

Friendship is Magic is a collaborative site-specific installation created by artist friends Clea Felien, Damali Abrams the Glitter Priestess, and Ambivalently Yours. The show explores how the enthusiasm, language and rituals of girl culture can be used to represent ideas of friendship as a radical act of resistance in a political climate that is increasingly promoting xenophobia and separatism. In a world where adults are encouraged to cultivate potentially beneficial business connections instead of friendship, what does it mean to celebrate friendship instead?

For one weekend, the three artists from Minneapolis, Montreal, and New York will gather at Spackle Cat Gallery (Northrup King Building Studio 358, 1500 Jackson St NE, Minneapolis) to create an interdisciplinary alternate world where friendship itself is a form of magic.

Friday, May 19th – 5:00-10:00 p.m.
Saturday, May 20nd – 2:00 p.m.-8:00 p.m.
Sunday, May 21st – Noon-5:00 p.m.


  • May 19 – May 21
    May 19 at 5 PM to May 21 at 5 PM EDT
  • Spackle Cat Gallery, Northrup King Building, Studio 358, 1500 Jackson St NE, Minneapolis, MN 55413

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Alumnus Michael Ruiz @ San Diego Art Institute

SDAI is pleased to present “Extra-Ordinary Collusion”, an exhibition with twenty-three artist and scientist collaborations, curated by Chi Essary. The opening reception will take place at the San Diego Art Institute, 1439 El Prado, on Saturday, May 20 from 6pm-8pm. The exhibition will run though will run through July 2.

The popular misconception of San Diego as a sleepy beach town ignores the vibrant artist community and undermines the reality of San Diego’s cultural potential. San Diego is not only known as one of the top three biotech capitals in the world, thanks to the presence of research centers like the Salk, Scripps, and the Stanford Consortium, but it is uniquely situated next to the creative hotbed that is Tijuana. Extra-Ordinary Collusion celebrates this rich cultural heritage by fostering innovative exchange between two of San Diego’s great cultural strengths—our thriving scientific and artistic communities.

For this exhibition artists were paired with scientists from the Salk Institute and invited to tour the scientists’ labs and learn about their state-of-the-art research. Using this visit as the impetus for the exhibition, artists created new work based on their conversations and interactions with the scientists. The artists in Extra-Ordinary Collusion come from various disciplines including painting, sculpture, installation, new media, and conceptual art.

Participating artists and scientists are: Cooper Baker (with Jun Wu), Hugo Crosthwaite (with Laura Tan), Einar & Jamex de la Torre (with Amy Rommel), Thomas DeMello (with Carol Marchetto), TML Dunn (with Sreekanth “Shrek” Chalasani), David Fobes (with Tatyana Sharpee), Abbey Hepner (with Mike Avery), Debby & Larry Kline (with Saket Navlakha), Jessica McCambly (with Julie Law), Meegan Nolan (with Manching Ku), Arzu Ozkal (with Janelle Ayres), Philip Petrie (with Ahmet Denli), Irma Sofia Poeter (with Uri Manor), Iana Quesnell (with Corina Antal), Sasha Koozel Reibstein (with Beverly Emerson), Marisol Rendón (with Axel Nimmerjahn), Vincent Robles (with Chen-min Yeh), Michael Ruiz (with Paloma Martinez-Redondo), Ellen Salk (with Tom Albright), Shinpei Takeda (with Tom Albright), Maya VanderSchuit (with Antonio Currias), Vicki Walsh (with Alan Saghatelian), Melissa Walter (with Martin Hetzer) Also on display will be photographs by Josue Castro documenting the scientists in their laboratories.

Please also join us for a series of discussions with some of the artist/scientist teams in Extra-Ordinary Collusion:

Thursday, June 8th, 7pm-9pm ($10, includes appetizers and refreshments) Location: Park 6, 590 Fir Street, San Diego, CA 92101
Vicki Walsh with Alan Saghatelian from the Clayton Foundation Laboratories for Peptide Biology, Einar & Jamex de la Torre with Amy Rommel from the Laboratory of Genetics—Verma, and Abbey Hepner with Mike Avery from John Reynold’s Lab

Wednesday, June 28th, 6pm-8pm ($5, cash bar) Location: San Diego Art Institute, 1439 El Prado, San Diego, CA 92101
Marisol Rendón with Axel Nimmerjahn from the Waitt Advanced Biophotonics Center, David Fobes with Tatyana Sharpee from the Computational Neurobiology Laboratory, and TML Dunn with Sreekanth “Shrek” Chalasani from the Molecular Neurobiology LaboratorySport media | NIKE Chaussures, Sacs, Vetements, Montres, Accessoires, Accessoires-textile, Beaute, Sous-vetements – Livraison Gratuite

Alumna Maura McHugh @ Center for Contemporary Art Santa Fe

Cryin’ Out Loud

April 21 – July 9, 2017 // Muñoz Waxman Gallery

Cryin’ Out Loud is a juried exhibition that examines the role of women’s and femmes’ voices as expressed in art about politics, activism, and emotion. Considering both the metaphoric and literal voice, Cryin’ Out Loud explores and celebrates the use of art as a form of speaking up and out. A large group exhibition of works by selected artists will take place in CCA’s Muñoz Waxman Gallery.

Juror’s Statement:

Cryin’ Out Loud takes each word of this maxim seriously – Crying. Out. Loud. – and navigates the various implications of the phrase, wheter exasperated and fed up (“Oh, for crying out loud!”) or literal, as one who does not hide her desperation or emotion while she is actually “crying out loud”. Similarly, “living out loud” has associations with survivors of abuse, with activism in the LGBTQ community, and with anyone refusing to “be quiet” about issues of oppression, identity and authorship. It is time to speak loudly with our voices and our art; with our intellect and our emotion; with our politics and our personhood.

Throughout history women’s voices, perspectives, and innovations have been undermined by those in power. In order to have their voices heard or published, many women artists and writers have adopted gender neutral or male pseudonyms. Women have fought for their right to vote, are still fighting for wage-equity, and to have equal representation in congress. Speaking and acting out is complicated for women and femmes because of common double standards like the label “hysterical,” for simply speaking her mind. Women have learned to work within these oppressive structures often at the expense of their rights and humanity, and frankly, we are ready for change.

Cryin’ Out Loud proposes that to unabashedly express emotion is a political act. To live out loud is a necessary political gesture and that women’s experience needs to be seen, heard, and cherished. The exhibition will consist of work in all media that embraces emotion as statement; that broadcasts social and political concerns, and that reacts to and resists the structures that continue to oppress us.

About the Juror:

Micol Hebron is an interdisciplinary artist whose practice includes studio work, curating, writing, social media, crowd-sourcing, teaching, and public speaking. Hebron is an Associate Professor of Art at Chapman University; the founder/director of The Situation Room, a resource space for the creative community (in Eagle Rock, CA); the Femmes International Video Art Festival; the Gallery Tally Poster Project about gender equity in contemporary galleries; and the Digital Pasty/ Gender Equity initiative for the internet. In 2016 she was awarded the SPArt grant for Social Practice Art in Los Angeles. Previously, Hebron has been the Chief Curator at the Utah Museum of Contemporary Art; the director of the UCLA Summer Art Institute; an editorial board member at X-Tra magazine; an independent curator; a conservator at LACMA, and the co-founder of Gallery B-12 in Hollywood in the 90s. She has served on advisory boards at Los Angeles Contemporary Exhibitions, Birch Creek Ranch Residency (Utah), Los Angeles County Museum of Art, and UCLA. She is the founder of the LA Art Girls and the Co-Founder of Fontbron Academy. She employs strategies of consciousness-raising, collaboration, generosity, play, and participation to support and further feminist dialogues in art and life.

Participating Artists:

Robin Adsit, Susan Arena, Susan Begy, Katina Bitsicas, Nikesha Breeze, Marcie Rose Brewer, Dorielle Caimi, Kimberly Callas, Momma Tried, Eliza Fernand, Vanessa Dion Fletcher, Cheri Gaulke, Melissa Friedman, Katya, Grokhovsky, Maureen Hawthorne, Nicola Heindl, Sarah Hewitt, Jessica Fairfax Hirst, Katie Hovencamp, Victoria Hoyt, Megan Jacobs, Kasey Jones, Casey Kauffmann, Courtney Kessel, Ellina Kevorkian, Dave Kube, Alison Kuo, Emily La Cour, Julia Barbosa Landois, Stephanie Lerma, Rebecca Leveille, Jasmine Little, Cecilia McKinnon, Maura McHugh, Melissa Potter and Maggie Puckett, Mary Anna Pomonis and Allison Stewart, Jenn Procacci, Rachel Rivera, Sarah Rockett, Celeia Rocha, Valerie Roybal, Sack (cara despain), Sallie Scheufler, Christy Schwathe, Rebekah Tarín, Kate Cassatt Tatsumi, Charlotte Thurman, Ingrid V. Wells, Quintan Ana Wikswo, Suzanne Wright, Victory Grrls, Alisa Yang

Press on the exhibition:

Albuquerque Journal North

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BEATRIZ SANTIAGO MUÑOZ | Whitney Biennial Film Programs

Previous guest artist Beatriz Santiago Muñoz is screening several of her films at the Whitney 2017 Biennial Film programs on May 6, 2017 at 6pm.

Location: Floor Three, Susan and John Hess Family Gallery and Theater

Beatriz Santiago Muñoz uses an observational style to record performed gestures, creating revealing tableaus of life and locality that examine postcolonial experiences in the Caribbean.

May 6: 6 and 8:30 pm

May 7: 3 pm
Screening followed by a conversation with Beatriz Santiago Muñoz and Jan Susler, Civil Rights Attorney, People’s Law Office

Beatriz Santiago Muñoz (b. 1972), Black Beach / Horse / Camp / The Dead / Forces, 2016
La cabeza mató a todos, 2014
Marché Salomon, 2015
Oneiromancer, 2017

To buy tickets click here.

Whitney Museum
of American Art

99 Gansevoort Street
New York, NY 10014
(212) 570-3600


Beatriz Santiago Muñoz (b. 1972), still from Marché Salomon, 2015. High-definition video, color, sound; 15:57 min. Courtesy the artist and Galería Agustina Ferreyra, San Juan.Authentic Nike Sneakers | NIKE HOMME

Winter 2017 Grads


Holly Britt


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Jon Chapman


Moksha Sommer


Luann Bice

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Matthew Whitney @ Sojourn Arts | Louisville, KY

Responding to Violence and the Gun

On view February 12 – April 9, 2017

RECEPTION AND PANEL DISCUSSION Saturday March 18, 6:00 – 8:00 p.m. with the panel discussion at 6:30 p.m.

During 2016, in our small neighborhood of Shelby Park, 6 people died as a result of gun violence. Across the city in 2016, Louisville experienced more homicides than any other year on record. And across the U.S. in 2016 there were a total of 15,010 deaths from gunshots.

In this exhibit, artists have responded to violence and the gun with a variety of approaches.

Matthew Whitney is spelling out the word Warzone across Seattle with his feet. He describes these walks and the drawings made afterwards as part protest march and part active prayer.

By concentrating on the problem of violence in our city and across the country, these artists give us opportunity to mourn the lives lost to violence, to consider why so many are fascinated with guns, how guns relate to gender and youth, and how violence re-shapes our relationship to public space.

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Viet Le Speaks at Asian American Genders & Sexuality Panel | SFSU

The Center for Research and Education on Gender and Sexuality is pleased to present “Asian American Genders and Sexualities”, a moderated panel discussion exploring Asian American gender and sexuality from an interdisciplinary perspective, featuring Valerie Francisco-Menchavez, Việt Lê, Anantha Sudhakar, and Amy Sueyoshi.

Wednesday, February 22nd from 5pm-7pm.
Room 121 (first floor), J. Paul Leonard Library,
San Francisco State University
1600 Holloway Ave

The panel will be featuring:

Valerie Francisco-Menchavez: Assistant Professor in Sociology and Sexuality Studies at SFSU. Dr. Francisco’s work focuses on global and transnational sociology, migration and immigration, Phillippine diaspora, gender and family, and on the transnational activism that emerges from the social conditions of migration, separation, and migrant labor.

Việt Lê: Artist, writer, curator, and an Assistant Professor in visual studies at California College of the Arts. He has ben published in positions: asia critique; Crab Orchard Review; American Quarterly; Amerasia Journal; Art Journal; and the anthologies Writing from the Perfume River; Strange Cargo; The Spaces Between Us; Modern and Contemporary Southeast Asian Art; among others.

Dr. Anantha Sudhakar’s work, which focuses on South Asian American literature, diaspora and transnationalism, and feminist and queer theory, has been published in the Asian American Literary Review and Small Axe. She serves as an advisor for the South Asian American Digital Archive, an online repository of documents related to South Asian American immigration, and as an editor for Tides magazine.

Amy Sueyoshi: Associate Dean of the College of Ethnic Studies at SFSU. She is a co-curator and founding member of the GLBT History Museum, the first queer history museum in the United States. She also initiated the Dragon Fruit Project, a community oral history project for API Equality Northern California. Her second book Discriminating Sex: White Leisure and the Making of the American “Oriental” is forthcoming from University of Illinois Press.

This event and all CREGS events are wheelchair accessible. If you would like to request additional accommodations for this event, including ASL interpretation, please contact Zed Meade at or 415-817-4525 by 2/15/17.bridgemedia | Nike Wmns Air Force 1 07 Essential White Silver Gold Women Casual , Cellmicrocosmos Marketplace

Former Visiting Artist AK Burns @ Callicoon

A.K. Burns
February 26 – April 9, 2017
Opening reception: Sunday, February 26th6 to 8pm
“…it was ambiguous, two-faced. What was inside it and what was outside it depended upon which side of it you were on.” — The Dispossessed by Ursula K. Le Guin
Knowing is a kind of death, halting pre-lingual sensitivities. Knowing what you know, all other knowns precipitate, presuming relative truths, knowledge, belief, reality… your norm. Admitting a lack of knowledge means accepting an inability to penetrate. To be rendered impotent, to be released.
In a series of three, nearly identical partitions, acting jointly as thresholds (gates) and obstacles (fences)— the language embedded in their steel bars reads, respectively; KNOWN KNOWN, KNOWN UNKNOWN and UNKNOWN UNKNOWN. The gates, constructed of sandblasted steel, mimic the heavily painted black fences that dominate the New York City landscape. The text, a reference to a statement made by Donald Rumsfeld (in February 2002) at a press conference questioning what substantiation exists for the alleged ‘weapons of mass destruction.’ Rumsfeld uses this illusive linguistic detour for the strategic production of fear.
A figure looms in She Was Warned, as a dystopic reimagining of Artemis of Ephesus, representations of which articulate the goddess with a torso covered in numerous breasts. Artemis, also known as Diana, is a goddess of the hunt, the natural environment, the moon, women, and childbirth. The figure’s breasts are rendered as crudely cast Gatorade bottles. Topped with the iconic cap, like bright orange nipples, the bottles are hung from a grid of rusted steel typically used to reinforce concrete. Unlike breast milk or water, which provided basic sustenance, Gatorade—the first sports drink, invented in 1965—boasts enhancement. Built with industrial materials She is  both figurative and architectural, a shell of her former self, she is nearly depleted. Still she gestures with an offering, and dangling from her gloved palm she presents a gold-plated IUD.
Imaged on the walls are combinations of grids and holes, some opaque and some that let the breeze in. Metaphorical and literal (window) screens, objects built to block access, are perforated with openings, leaks, and passageways for anything that makes it thru. These material collages include bits of outdoors equipment, and are punctuated, held together by pairings of grommets. Following the path from entry to exit the orifices are sometimes threaded with chains of linked items. Adhered directly to the walls are a series of landscapes extracted from a coverpage of the New York Times (of the unfinished Dakota pipeline in a desolate western landscape). Abstracted in scale and without evidence of the pipeline, the sites appear ambiguous and hard to read as unified.
Leave No Trace, 2016, is a record. A limited edition experimental audio-based work, pressed on vinyl and packaged in a zip-bag with a pair of nitrile gloves and an accompanying poem. The recording consist of two (unlabeled) tracks, one per side that combines ambient environmental recordings, vocalization, sounds generated from various found materials and an old electric guitar. Leave No Trace, is the soundtrack for a forthcoming installation, that is part of a cycle of related works that includes A Smeary Spot (2015) and Living Room (2017) currently on view at the New Museum. The title and the poem (Leave No Trace) reference wilderness ethics but also notions of unregulated sites and bodies. In questioning what is deemed natural or naturalized, it points to the privileges and subjugation of bodies and actions that go unrecorded.
A stray foot wanders off, holding its ground, bodiless, a host to a quotation scrawled in wire.
This is A.K. Burns’ third solo exhibition at Callicoon Fine Arts. Burns is in residence at the New Museum with Shabby But Thriving, an exhibition open till April 23. This installation includes the two-channel video, Living Room (2017), which follows on the heals of A Smeary Spot (2015) exhibited at Participant INC, NY and the Portland Institute of Contemporary Art, Oregon. This series of works draws on theater, science fiction, philosophy, and ecological anxieties. Originally from Northern California, Burns is an interdisciplinary artist and educator residing in Brooklyn, NY. Currently a Radcliffe Fellow at Harvard University, Burns is also a 2015 recipient of a Creative Capital Foundation Visual Arts Award. In 2008, Burns co-founded the artists activist group W.A.G.E. (Working Artists and the Greater Economy), and in 2010 released the feature-length socio-sexual video portrait Community Action Center in collaboration with A.L. Steiner. Having exhibited internationally at venues such as The Tate Modern, The Museum of Modern Art, and the Los Angeles County Museum of Art, Burns work insists that matter matters, that the body is a site of imminent negotiation, and that unexpected affinities between material, medium and media offer space to rework economies of gender, labor, ecology and sexuality
For additional information contact Photi Giovanis at, or call 212-219-0326.
Callicoon Fine Arts is located at 49 Delancey Street between Forsyth and Eldridge Streets. Gallery hours are Wednesday to Sunday10am to 6pm. The nearest subway stops are the B and D trains at Grand Street and the F, J, M and Z trains at Delancey-Essex Street.
Callicoon Fine Arts
49 Delancey Street
New York, NY 10002

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