Visiting Artists

Small School hosts prominent visiting artists who connect with Raleigh through public talks, workshops, seminars, studio visits, and more.



Public talk date listed above; see below for workshop dates

Saki Mafundikwa

Saki Mafundikwa is the recipient of the 2022 Lifetime Achievement Award (also known as the President’s Award) from Design and Art Direction (D&AD), the UK’s premier design and advertising organization. He is the founder and director of the Zimbabwe Institute of Vigital Arts (ZIVA) a design and new media training college in Harare. He has an MFA in Graphic Design from Yale University. His book, Afrikan Alphabets: the Story of Writing in Afrika was published in 2004. Besides being of historical importance, it is also the first book on Afrikan typography. It is currently out of print.

His award-winning first film, Shungu: The Resilience of a People  had its world premiere at 2009’s International Documentary Film Festival Amsterdam (IDFA). He was a speaker at TED2013, he keynoted the first Pan African Design Institute (PADI) conference in Ghana in 2019 and he spoke at TED/PMI in Tanzania in 2019. He has also run workshops for design students in Europe, North, South and Central America, and Afrika.

He has been published widely on design and cultural issues and is currently working on a revised edition of Afrikan Alphabets which he hopes will be published in 2023. He lives, works and farms in Harare, Zimbabwe.

Talk: Twenty Years of Running a Design School in Zimbabwe  /  6 pm  Mar 15  Artspace

Killeen Hanson + Leslie Vigeant

Killeen Hanson works, writes, and teaches about radical listening, material culture, and the relationship between education, publication, and civic engagement.

She is a designer, educator, and researcher based in Brooklyn, NY. Hanson is the founder and editor of the Sobremesa Reading Club, a publication and discussion series organized around an evolving library of individually bound primary sources from voices, viewpoints, and geographies iconic and overlooked.

She currently teaches design research within the School of Design Strategies at Parsons The New School for Design in New York City, and consults as a thought partner and design strategist with individuals and organizations pushing the boundaries of what is and what can be.

Her ongoing research projects and collaborations explore the power of radical listening, the potential of objects as verbs, and the relationship between education, publication, and civic engagement.

She graduated Phi Beta Kappa from Stanford University with degrees in English Literature and French Language and earned a dual MFA in Applied Craft + Design from Pacific Northwest College of Art and Oregon College of Art and Craft.

Leslie Vigeant knows how to sweat. Based in Portland, OR, her practice is filled with artificial skyscapes, big-box store cakes, colored lights, and spreadsheets galore. She is the Director of Marketing and Communications at Portland Institute for Contemporary Art (PICA), Manager of the GLEAN Residency, and plays with the hierarchies of social expectations in her studio.

Leslie received her MFA in Applied Craft + Design from Oregon College of Art and Craft / Pacific Northwest College of Art and has a BFA in 2D Studies and Painting from the University of Massachusetts Amherst. Leslie has exhibited at Winnipeg Underground Film Festival, Canada; Woodbury Art Museum, UT; AIA, San Francisco, CA; Cambridge College, MA; University of Missouri, MO; Marchutz School, Aix en Provence, France; Stephanie Chefas Projects and beyond She has received grants from Foundation for Contemporary Arts, Portland’s Regional Art and Culture Council, the Oregon Arts Commission, and Massachusetts Arts Council. Residencies with Recology, Artspace, Penland School of Crafts. Leslie was a founding member of the artist-run space Carnation Contemporary and is the Interim Board President of the Contemporary Art Council (CAC) at the Portland Art Museum. Forthcoming solo show at One Grand Gallery, Portland, OR, November 2023.

Talk: How Do We Pay Attention to What We Are Paying Attention To?  /  6 pm  Mar 30  Artspace

Workshop: Smell, Sight and Memory: Paying Attention With the Senses  /  10:30 am – Noon  Apr 1  The North Carolina Museum of Art

Karl Burkheimer + Heidi Schwegler

Karl Burkheimer is a practicing artist residing in Portland, Oregon. His artistic practice is founded on labor, skill and the built environment, reflecting varied experiences as a carpenter, artist, and educator. His work has been exhibited nationally, including solo exhibitions in Seattle, Brooklyn, Los Angeles, and Portland, Oregon. His critical writing has been published in Ceramic Monthly, and he has received several awards of recognition as well as institutional funding, including project grants from the Oregon Arts Commission, a 2012 individual Artist Fellowship from OAC, 2013 Contemporary Northwest Art Awards at the Portland Art Museum, a 2013 U.S.-Japan Creative Artist Fellowship, a Hallie Ford Fellowship in 2016, and a MacDowell Fellowship in 2021.

As an educator Karl taught for 15 years at Oregon College of Art and Craft in Portland, Oregon as a Professor and Chair of the MFA in Craft and the Department Head for the Wood program. Prior to joining OCAC’s faculty he taught design at the Virginia Commonwealth University’s branch campus in Qatar. He also worked with students and faculty from the University of Manitoba as a guest artist for service-learning studios in Turkey and Uganda. Karl earned an MFA from the Department of Crafts and Material Studies at Virginia Commonwealth University and a Bachelor of Environmental Design in Architecture from North Carolina State University.

Heidi Schwegler is an artist in Yucca Valley, CA. She is the founder of the Yucca Valley Material Lab, a space for thinking and making. From 2015-2018 she was the Chair of the Masters in Fine Arts Program in Applied Craft and Design, a program jointly offered by Pacific Northwest College of Art and Oregon College of Art and Craft. Schwegler has been included in the 2018 Bellevue Art Museum Biennial, Portland2016 Biennial, the Portland2010 Biennial, and the Oregon Biennial in 1999. She has received an Individual Artist Fellowship from the Oregon Arts Commission, Hallie Ford Fellowship and two MacDowell Colony Fellowships in the Visual Arts. She was artist-in-residence at MacDowell, Pilchuck, VCCA, Yaddo, Anderson Ranch Arts Center, and Bullseye Glass Company, among others.

In interviews, Schwegler has expressed “an affinity for the ruin, non-sites and discarded objects”. Schwegler calls herself “an urban archaeologist” who prefers “to mine the peripheral ruin, the discarded stuff that is ignored and considered worthless. By reassigning the value and purpose of something recognizable, I emphasize the perforation between what it was and what it has now become.” Pulling from the traditions of craft and conceptual art, Schwegler uses a variety of mediums, including glass, metal, sculpture, photography, and installation.

Talk: Mining The Everyday  /  6 pm  Apr 13  Artspace

Workshop: Mining The Everyday  /  9:00 am – Noon  Apr 15  Poyner Y

Stefani Bardin

Stefani Bardin is an artist whose work is split between food + climate change projects and initiatives.  Based in New York City she partners with  scientists, chefs, architects, technologists and designers to  investigate the influences of corporate culture and industrial food production on our food system and the environment.  She was a member of  New Museum’s Cultural Incubator NEW INC  from 2018 – 2021 where projects included  collaborations with  Smallhold on a modular unit for NEW INC as well as workshops and collaborations with the Mattos Hospitality  on food and climate change.  Her work has been featured in and commissioned by organizations including Wired Magazine, Scientific American, Art21, Forbes, Creative Time, The Bauhaus and The Museum of Contemporary Art in Montreal.

As a professor of Food, Design, Technology + Climate Change in NYU’s Food Studies and Interactive Telecommunications Programs and Parsons Interactive Design department, she has worked with The James Beard Foundation, Rethink Food NYC and Brigaid on projects that developed scalable and actionable design outcomes to uncover and respond to ruptures in the food system.

She is also the founder of the project No Free Lunch through NYU’s Institute for Public Knowledge a web platform that focuses on mapping the context and content of climate change issues, beginning locally with New York stakeholders and organizations working to address climate and environment related impact on our food system.

She has successfully migrated the systems and design thinking methodologies she uses as an artist + professor to corporate and business clients in order to show them (through workshops + lectures) how to connect the dots between internal and external issues like climate change + means of production + CSR + global impact and create new pathways for products, branding and messaging.

Additionally, she works with companies on innovation and growth strategies; teaching tools for reimagining current workflows, product development and systemic initiatives for cohesive growth for the company, its employees and consumer trust.

Talk: Outside/Inside + Inside/Outside: Food Design and Perception  /  6 pm  Apr 27  Artspace

Workshop: Flavor Tripping  /  10:30 am – Noon  Apr 29  The North Carolina Museum of Art

Workshop Description

We use all our five senses when we eat – but knowing how they work can up your game when you shop for, prepare, cook and eat food. In this workshop we’ll learn how our senses engage with food through art, science, sound and nature – and take your tastebuds on a trip to a totally new dimension.

Bukola Koiki

Bukola Koiki is a Nigerian-American conceptual fiber artist and educator known for the depth of material curiosity and technical research in her practice. A first-generation immigrant with several intersecting identities, she interprets the world and the complexities of the contemporary Black experience through the lens of a trained designer-turned-craftsperson and from a liminal existence between nations, gender, and culture. Her multidimensional fiber works include, amongst other innovations — hand-pulled prints rendered with embroidered collagraph plates, giant handmade and hand-dyed paper beads employing Nigerian hair threading techniques, and indigo-dyed and hand-printed Tyvek head ties.

Koiki received her MFA in Applied Craft + Design from the Pacific Northwest College of Art and her BFA in Communication Design from the University of North Texas. In 2023 Koiki was awarded a United States Artists Fellowship. She was named a Shortlist Finalist for the American Craft Council’s Emerging Voices Award in 2019 and nominated for the Textile Society of America’s Brandford/Elliott Award in the same year. In Winter/Spring 2022, Koiki was the Inaugural Artist in Residence and Lecturer in Humanities at Bates College in Lewiston, ME, and a summer Artist in Residence at The Hambidge Center in Rabun Gap, GA. Her work has been featured in American Craft and Surface Design magazines and on OPB (NPR Oregon). She has exhibited nationally, including in Chicago, IL, and Portland, OR. She currently lives and works in Maine.

Talk: On Motifs and Meaning  /  6 pm  May 11  Artspace

Workshop: On Motifs and Meaning  /  10:30 am – Noon  May 13  The North Carolina Museum of Art

Workshop Description

For this workshop, we will briefly discuss the history of marks, signatures, sigils, and motifs across the world (including the symbolic content of various textile motifs) and their relationship to cultural or personal mythologies, sayings, and aphorisms Through short writing and timed drawing exercises, participants will be asked to try their hand at drawing a personal motif—a graphic shorthand for a personal history, belief, occupation, etc.

Akiko Busch

Akiko Busch writes about design, culture, and nature for a variety of publications. Her most recent book, Everything Else is Bric-a-Brac, was published by Princeton Architectural Press in September, 2022. Her collection of essays, How to Disappear: Notes on Invisibility in a Time of Transparency was published by Penguin Press in 2019. The Incidental Steward, her essays about citizen science and stewardship, was published by Yale University Press in 2013 and awarded an Honorable Mention in the Natural History Literature category of 2013 National Outdoor Book Awards. She is also the author of Geography of Home: Writings on Where We Live, The Uncommon Life of Common Objects: Essays on Design and the Everyday, and Nine Ways to Cross a River: Midstream Reflections on Swimming and Getting There from Here.

She was a contributing editor at Metropolis magazine for twenty years, and her essays have appeared in numerous national magazines, newspapers, and exhibition catalogues. She has been a visiting teacher at Bennington College and was on the faculty of the MA Design Research Program at the School of Visual Arts from 2009 until 2020. Her work has been recognized by grants from the Furthermore Foundation, NYFA, and Civitella Ranieri.

She lives in the Hudson Valley and makes it a point to swim across the Hudson River once a year.

Talk: Invisible Ink: Notes On Why the Ink We Do Not See is as Essential to Contemporary Human Expression as the Ink We Do See  /  6 pm  May 18  Artspace

Workshop: Invisible Ink  /  9:00 am – Noon  May 20  The North Carolina Museum of Art

Workshop Description

The unspoken has always been crucial to human expression. Ernest Hemingway observed that “The dignity of movement of an iceberg is due to only one eighth of it being above water.” The novelist Shirley Hazard noted that “Speech—in literature as in life—can crucially suggest what is not said.” The value of the unsaid is not limited to literary expression. Its most eloquent expression in recent times may be found in the sheets of blank white paper used by dissidents in Russia to protest the invasion in Ukraine; and in China where such sheets are used to protest Covid lock-downs. The empty page points to the lack of free expression in those countries where protestors fear speaking out. One young student said that these sheets also convey the message that while the paper is blank, “people’s minds are not.” Such blank sheets say nothing and they say everything. And all of this has particular meaning in the era of TMI, an age of information and visual overload. This workshop will investigate the rhythm of absence and presence and the balance between the said and the unsaid, reassessing how these can collaborate for powerful human statements. What is revealed, what remains hidden are the choices artists and writers make. This will not be a writing exercise as much as one in how to say more with less. We will reassess blanks and look at erasure in printed work that allows participants to find ways in which distillation, redaction, and sometimes outright erasure can locate new meanings in narrative expression.

Erik Brandt

Erik Brandt is a graphic designer and educator who has been active since 1994. He is currently Chair of the Design Department and Professor of Graphic Design at MCAD (Minneapolis College of Art and Design) in Minneapolis, Minnesota. He is a member of the Alliance Graphique Internationale (AGI) and was appointed International President in 2022. He curated Ficciones Typografika, a project dedicated to typographic exploration in a public space.

Educated internationally, his career began as a cartoonist in Japan in 1994, and has since found focus largely in print media. He maintains a small graphic design studio, Typografika (Visual Communication und Konditorei). His work has been published and exhibited internationally and he has also received recognition for his very, very silly short films.

Talk: Ficciones Typografika  /  Jun 8  /  6 pm  /  Lump Gallery

Workshop: Ficciones Typografika  /  Jun 10  /  9 am – 11 am  /  Lump Gallery

Workshop Description

Erik will lead an experimental workshop that people of all ages will enjoy. Using old fashioned Letraset and a simple scaled grid, participants will be guided through a series of formal studies that begin small but have large scale possibilities. The use of this once dominant medium allows for a reinterpretation of the possibilities of type and language, focusing on image building and formal investigation of time and space. All materials will be provided, and the hands on nature of the workshop promises much delight.

Admission: $25 (Workshop is limited to 12 participants – please Register below)

Don Crow

A teacher, painter and collage artist, Don Crow has been awarded numerous grants and distinctions, including the Pollak Award for Excellence in the Visual Arts. He has taught at Virginia Commonwealth University in Richmond and Doha, Qatar, worked as visiting artist at Oregon College of Art and Design, and been selected for numerous residencies, including most recently the Cité internationale des arts in Paris.

Crow’s fragile paper collages, large digital prints and abstract paintings draw attention to objects as obvious constructions and invisible processes. As part of his mixed media projects, Crow has studied photography and laser-engraved surfaces to explore the tensions between mutity and expressiveness as surfaces and images become subsumed by time, memory and digital recordings. Recent paintings highlight mysteries and textures with ambiguous relationships between the surface and the ground, the applied or painted surface, the deliberate mark or the accidental folding.

Crow is a romantic and an engaged reader of contemporary poetry and fiction. He is a good swimmer, a moderate cook, and a lover of dogs. He is currently involved in trying to pay more attention to the moon at night and less attention to what passes for the daily news as it appears on the Internet. And he has the hope of one day in the not too distant future of memorizing a poem a month by heart.

He lives and works in Richmond, Virginia, with his wife and two cats.

Talk: The Spaces Between Two Things  /  6 pm  Jun 22  Lump Gallery

Whitney Lowe

Whitney Lowe is consciously pursuing a carefully nuanced interrelationship between modernity conventions by signaling the machine and manufacturing with a desire to exploit the material warmth and skin-like characteristics inherent in clay. It’s a play between objective pursuits – rigor, precision, anonymity, austerity – pivoting to pressure, weight and compression that are resonant of intimacy and flesh. Viewing the extravagantly constructed forms is analogous to reading the printed letterform; the eye understands the graphic outline yet lingers because of the precise manipulation – the turbid pleasures – of matter in the play of mass and void, the creation of taut edges and urgent lines. Planar surfaces stripped of any mark of the hand and unblemished by decoration convey desolate spaces of uninhabited cities or discarded objects of alien origin. The goal may be an aesthetic directness; yet, careful inspection reap deep rewards, revealing nuanced forms that layer historical quotations and material play.

Lowe began his career as a graphic designer. With the fortuitous meeting of luminaries from Cranbrook & California Institute of the Arts, he became one of the founding principals of ReVerb, a Los Angeles based graphic design studio that was awarded the “Chrysler Award for Design Innovation” in 1994, included in the prestigious ID40 issue, and featured in the British graphic design magazine Eye. In 1997 he was recruited as a creative director by the advertising agency Wieden + Kennedy, and was responsible for such noted campaigns as Windows 98, the Microsoft Image Campaign 99, Diet Coke and most recently Starbucks.

It was 9/11, though, that compelled Lowe to rethink his ambitions & priorities. With his passionate interest and scholarly knowledge of 20th c. ceramics, he decided to pursue making, having never previously touched wet clay. Lowe remains committed in being at the forefront of the contemporary ceramic dialogue, and a voice–advocate and arbiter–that often grates with today’s craft conventions. His talk will offer some of these opinions as well as identify truths and strategies that have remained steadfast in the universal creative impulse.

His work has been recognized by numerous design publications and exhibited at the San Francisco Museum of Modern Art. In 1994 he co-designed the Book “Morphosis, Building and Project” that was awarded the A.I.A. book of the year. Whitney studied Architecture at Cal Poly San Luis Obispo, received a BFA in Graphic Design & Packaging at Art Center College of Design, and earned a Post-Baccalaureate in ceramics from the Oregon College of Art and Craft. His ceramic work is in the collection of Crocker Art Museum, Sacramento California and NAU Art Museum, Flagstaff Arizona as well as numerous private collections.

Talk: Finding  /  6 pm  Aug 17  Contemporary Art Museum of Raleigh

William Deresiewicz

William Deresiewicz is an award-winning essayist and critic, a frequent speaker at colleges, high schools, and other venues, and the best-selling author of Excellent Sheep: The Miseducation of the American Elite and the Way to a Meaningful Life. His new book is The End of Solitude: Selected Essays on Culture and Society.

Bill has published over 300 essays and reviews. He has won the Hiett Prize in the Humanities, the National Book Critics Circle’s Balakian Citation for Excellence in Reviewing, and a Sydney Award; he is also a three-time National Magazine Award nominee. His work, which has appeared in The New York Times, The Atlantic, Harper’s, and many other publications, has been translated into 18 languages and anthologized in 39 college and scholastic readers.

Bill taught English at Yale and Columbia before becoming a full-time writer. He has spoken at over 160 educational and other venues and has appeared on The Colbert Report, Here & Now, The New Yorker Radio Hour, and many other outlets. He has held visiting positions at Bard, Scripps, and Claremont McKenna Colleges as well as at the University of San Diego. His previous books are The Death of the Artist, A Jane Austen Education, and Jane Austen and the Romantic Poets.

Bill is a member of the Board of Directors of Tivnu: Building Justice, a Jewish social-justice gap year in Portland, Oregon, and of the Advisory Council of Project Wayfinder, which runs purpose-learning programs in schools across the United States and beyond.

And, since you’re wondering, it’s /də-REH-zə-WITS/.

Talk: One Man Band: Surviving in the New Economy  /  6 pm  Aug 31  The North Carolina Museum of Art

Kenseth Armstead + Kayla Coleman

Kenseth Armstead has created provocative conceptual art for three decades. His work has been included in pivotal explorations of history, American culture, ethnicity, and institution defining moments. Selected historic exhibitions which include his work are: “Black Male: Representations of Masculinity in Contemporary Art” at the Whitney Museum of American Art; “It’s Happening! Celebrating 50 Years of Public Art in NYC Parks” in Central Park, NY, NY, Presented by NYC Parks, Art in the Parks; “Frames of Reference: Reflections on Media” at the Solomon R. Guggenheim Museum; “Race in Digital Space” at the MIT List Visual Arts Center; “Veni Vidi Video” at the Studio Museum in Harlem (their first video exhibition in 2003); “Open House: Working in Brooklyn” at the Brooklyn Museum; “Edited at EAI: Video Interference” at Electronic Arts Intermix (celebrating 45 years of their award winning collection); “Modern Heroics, 75 years of African American Expressionism” at the Newark Museum of Art.

Armstead’s videos, drawings and sculptures are included in the collections of: Centre Pompidou; African American Museum in Dallas, Texas; Newark Museum of Art; Studio Museum in Harlem; and numerous public and private collections. Numerous reviews, which include, L Magazine, The New York Times, Art in America, The Village Voice, The Boston Globe and The Washington Post have favorably discussed his videos, sculptures and media installations.

Solo exhibitions of Armstead’s work have been mounted in galleries, kunsthalles, museums and alternative spaces. The list includes: Churner and Churner, New York, NY;  LMAKprojects, New York, NY; Eyebeam Art + Technology Center, New York, NY; and FUTURA centre for contemporary art, Prague, Czech Republic.

The list of grants won in support of Armstead’s work over the years include: the inaugural Skowhegan School of the Arts David C. Driskell Fellowship; the NYFA Video Fellowship; the Pollock-Krasner Foundation Grant; the NYSCA Individual Artist Award in Film/Video and New Technical Production; the Film/Media Grant from the Creative Capital Foundation; and the Digital Matrix Commission from the Longwood Arts Project and the Bronx Council on the Arts.

Armstead received a BFA from the Corcoran College of Art & Design in 1990. While still an undergraduate, he participated in the Skowhegan School of Painting and Sculpture. Upon completion of his degree, he moved to New York City to attend the Whitney Museum of American Art Independent Study Program (1990-1991). He now holds an MS in Integrated Digital Media from the NYU’s Tandon School of Engineering (2005), which awarded him a full scholarship, Excellence in Integrated Digital Media Award.

Armstead has co-authored multimedia installations collaboratively with the art-band, X-PRZ, which he co-founded with his mentor Tony Cokes (1991-2001). The art-band served to critique culture, resist the notion of the individual productive genius and challenge social norms, using ephemera, historical and documentary video as a base material. He was also the founding Managing Editor of Rhizome Internet, (currently which he helped launch with Mark Tribe in 1996. Before Rhizome there simply wasn’t criticism for new media art. Rhizome provided a focused and generous discursive platform for a new community of artists to consider the challenge of producing meaningful work outside the rules of painting and sculpture.

Armstead participated as Artist in Residence at: Harvestworks; the Castle Trebesice, Prague, CZ; the Lower Manhattan Cultural Council’s, Workspace Program; Eyebeam Center for Art + Technology; Galley Aferro; Lower Manhattan Cultural Council’s, Swing Space Program on Governors Island; the Brooklyn Museum, Library and Archive; Socrates Sculpture Park; the Louise Bourgeois Endowed Residency for a Sculptorat Yaddo; and currently the Drawing Center, Open Sessions Program (2018-2020).

The Siggraph Asia 2009 conference in Yokohama, Japan presented scenes from Armstead’s decade long “Spook™” project in the Art Gallery. Outtakes from the “Spook™” project were also included in a feature length documentary which was broadcast on PBS nationally; “Lafayette: The Lost Hero,” directed by the academy award nominated, Oren Jacoby. Additionally, Armstead served as an historical consultant on the project. The “Spook™” project is still the most complete record of the Historical figure, James Armistead Lafayette. James Armistead Lafayette was a double agent spy for George Washington and his intelligence reports led to the end the American Revolution.

Commissioned work from Armstead’s series “Farther Land” include site-specific installations at: Olana State Historic Site, “Heresy • Hearsay”, for an iteration of the award-winning exhibition Groundswell in 2014; Socrates Sculpture Park, “Master Work: Astoria Houses, Building 24”, in the Emerging Artist Fellowship exhibition in 2015; BRIC House, in The Project Room, “Master Work: Slaves of New York 1776” in 2018; and Union Square Park, “Washington 20/20/20” at the George Washington Equestrian Monument, Presented by NYC Art in the Parks Program in 2018. Future commissions are planned for: The NYC DOT ART, Community Commission, Harlem, NY in 2020 and Washington’s Headquarters State Historic Site in Newburgh, NY, Presented by Strong Room Inc in 2021.

Armstead tirelessly works to explore difficult terrain, new histories, complex identities and nuanced subjects with art. His work seeks to create beauty out of the connection to and honoring of the invisible and forgotten in American Culture.

Talk: Honoring the Forgotten Through Public Art: Dialogue on Community with Kenseth Armstead and Kayla Coleman  /  6 pm  Sep 7  The North Carolina Museum of Art

Workshop: Public Art: From Proposal to Installation  /  10 am – Noon  Sep 9  The North Carolina Museum of Art

Brenda Mallory

Brenda Mallory’s mixed media sculptural works are comprised of a variety of materials including cloth, fibers, beeswax, and found objects.  By creating multiple forms that are joined with crude hardware that imply tenuous connections or repairs, her work addresses ideas of interference and disruption in long-established systems of nature and human cultures.

Mallory lives in Portland, Oregon but grew up in Oklahoma and is a citizen of the Cherokee Nation. She holds a BA in Linguistics & English from UCLA and a BFA from Pacific Northwest College of Art.  She has received grants from the Oregon Arts Commission, Ford Family Foundation, and the Regional Arts & Culture Council. She is a recipient the The Hallie Ford Fellowship, the Eiteljorg Contemporary Native Art Fellowship, the Native Arts and Culture Foundation Fellowship in Visual Art and the Ucross Native Fellowship. She has participated in artist residencies including Ucross, Anderson Ranch, Crow’s Shadow Institute of the Arts, Glean, Bullseye Glass, and the Jordan Schnitzer Printmaking Residency at Sitka Center for the Arts.

Talk: Means, Memory, Making Do  /  6 pm  Sep 28  Contemporary Art Museum of Raleigh

Anders Ruhwald

Anders Ruhwald (born 1974 in Denmark) is a sculptor and installation artist whose practice is grounded in ceramics. He lives and works between Detroit and Chicago and received his MFA from the Royal College of Art in London in 2005. Solo exhibitions include Century Garden, Indianapolis Museum of Art, USA (2020); The Anatomy of a Home at Saarinen House in Michigan (2012), You in Between at Middlesbrough Institute of Modern Art in the UK (2008) and more than 30 gallery and museum solo-shows as well as more than 100 group-exhibitions around the world.

His work is represented in over 25 public collections internationally including The Victoria and Albert Museum (UK), Musée des Arts décoratifs (France), The Philadelphia Museum of Art, The Detroit Institute of Arts, The Denver Art Museum, The National Museum (Sweden) and The Museum of Art and Design (Denmark). His work has been featured in publications like Vitamin C published by Phaidon as well as the New York Times Magazine, Guardian (UK), Forbes Magazine, The Architects Newspaper, Frieze, Hyperallergic and Avenuel (Rep. of S. Korea). Ruhwald has lectured and taught at universities around Europe and North America and has held an associate professorship at the School of the Art Institute of Chicago. From 2008-2017 he was the Head of the Ceramics Department at Cranbrook Academy of Art in Michigan, USA. He was a visiting professor at the National Academy of Arts in Oslo, Norway from 2018-2022.

Talk: Spaces Breathe, Objects Relate  /  6 pm  Oct 5  The North Carolina Museum of Art

Workshop: Finding Ways to Make an Artist Life – Strategies and Pitfalls  /  10 am – Noon  Oct 7  Lump

Mary Mattingly

Mary Mattingly is an interdisciplinary artist based in New York.

She founded Swale, an edible landscape on a barge in New York City. Docked at public piers but following waterways common laws, Swale circumnavigates New York’s public land laws, allowing anyone to pick free fresh food. Swale instigated and co-created the “foodway” in Concrete Plant Park, the Bronx in 2017. The “foodway” is the first time New York City Parks is allowing people to publicly forage in over 100 years. It’s currently considered a pilot project.

Mattingly recently launched Public Water with More Art and completed public artwork “Pull” with the Museo Nacional de Bellas Artes de la Habana and the Bronx Museum of the Arts, two spherical ecosystems that were pulled across Habana to Parque Central and the museum. In 2018 she received a commission from BRIC Arts Media to build “What Happens After” which involved dismantling a military vehicle (LMTV) that had been to Afghanistan and deconstructing its mineral supply chain. A group of artists including performance artists, veterans, and public space activists re-envisioned the vehicle for BRIC. In 2016 Mattingly facilitated a similar project with teens at the Museum of Modern Art.

Mary Mattingly’s artwork has also been exhibited at the Cuenca Biennial, Istanbul Biennale, the Havana Biennial, Storm King, the International Center of Photography, the Seoul Art Center, the Brooklyn Museum, the New York Public Library, deCordova Museum and Sculpture Park, the Palais de Tokyo, and the Parrish Museum as part of Radical Seafaring curated by Andrea Grover. With the U.S. Department of State and Bronx Museum of the Arts she participated in the smARTpower project, traveling to Manila. Mattingly has been awarded grants and fellowships from the James L. Knight Foundation, Eyebeam Center for Art and Technology, Yale University School of Art, the Harpo Foundation, NYFA, the Jerome Foundation, and the Art Matters Foundation.

Her work has been featured in Aperture Magazine, Art in America, Artforum, Art News, Sculpture Magazine, The New York Times, New York Magazine, Financial Times, Le Monde Magazine, Metropolis Magazine, New Yorker, The Wall Street Journal, the Brooklyn Rail, and on BBC News, MSNBC, NPR, WNBC, and on Art21.

It has been included in books such as the Whitechapel/MIT Press Documents of Contemporary Art series title “Nature” and edited by Jeffrey Kastner, Triple Canopy’s Speculations, the Future Is… published by Artbook, and Henry Sayre’s A World of Art, 8th edition, published by Pearson Education Inc. Mattingly’s artwork is represented by Robert Mann Gallery.

Mattingly has a book coming out with the Anchorage Museum and Hirmer Verlag titled “What Happens After.”

Talk: Proposals /  6 pm  Oct 12  The North Carolina Museum of Art

Amy Whitaker

Amy Whitaker is an award-winning writer and researcher who studies the frictions between art and markets and between politics and economics. Her work on fractional equity in art using blockchain models new structures of economic sustainability for artists and extends to policy proposals for redistribution. She received the 2021 Edith Penrose Award from the European Academy of Management for “trailblazing” research that challenges orthodoxies and has impact.

With explicitly broad engagement across disciplines, political environments, and both academic and generalist conversations, she has published in top peer-reviewed journals in finance, sociology, law, education, archival studies, cultural economics, and arts administration, and has spoken widely including at the Aspen Ideas Festival, TEDx, TNW, Goop, Unfinished Live, and numerous colleges and universities nationally and internationally. Her work has been covered in The New York Times, Time Magazine, The Guardian, Harpers, The Atlantic, the Financial Times, Artnet News, Hyperallergic, Artforum, The Art Newspaper, and many others.

Dr. Whitaker worked for twenty years before joining academia including for the investment firm D.E. Shaw & Co., L.P., the company Locus (where she was named on patents for economic classification systems), the artist Jenny Holzer, and numerous museums including the Guggenheim, the Museum of Modern Art, and Tate. She holds a BA from Williams College with honors in political science and art, an MFA in painting, an MBA, and a PhD in political economy. Her newest work extends her research on fractional equity in art to creative policy design and the reimagination of politics in an age of fragile democracy and increasingly fewer shared truths.

Talk: Making as a Method: The Arts as a Hub for Interdisciplinary Problemsolving  /  6 pm  Oct 26  The North Carolina Museum of Art

Corey Pemberton

Corey Pemberton (American b. Reston, VA 1990) received his BFA from Virginia Commonwealth University in 2012. He has completed residencies at The Pittsburgh Glass Center (PA), Bruket (Bodø, NO), as well as a Core Fellowship at the Penland School of Crafts (NC). He currently resides in Los Angeles, California where he splits his time between the nonprofit arts organization Crafting the Future, glass blowing, and his painting practice. Pemberton strives to bring together people of all backgrounds and identities, breaking down stereotypes and building bridges; not only through his work with Crafting The Future but with his personal artistic practice as well.

Artist Statement:  To feel ordinary is a luxury. My portraits extend that luxury to people whose bodies and identities fall outside of the traditional raced, gendered, and sexualized boundaries of ordinariness. They are anchored within the domestic, as our homes allow space to be free amongst curated collections of creature comforts. The spaces and objects carry as much content as their curators do. These seemingly mundane tableaus are at once light and approachable, and yet suggest the high stakes involved in claiming space for oneself as a member of a historically oppressed group. In challenging prevailing notions about blackness and queerness we can redefine the boundaries of the everyday. Acrylic paint, photography, textile, and glass, come together to assemble domestic spaces in which accordingly diverse people are centered and enjoy safety, love, and wholeness.

Talk  /  6 pm  Nov 9  ArtSpace

Erin Charpentier + Travis Neel

Erin Charpentier and Travis Neel work at the intersection of socially engaged art and urban ecology. Collaboratively they utilize art as a framework to understand the keystone role that humans play in our landscapes.

Currently, their work centers the Honey Mesquite—the charismatic, thorny and creative protagonist of the Llano Estacado’s ecological theater. In an attempt to understand the Honey Mesquite, they have become enmeshed in a symbiotic association with other artists, landscape architects, neighbors, Chihuahuan desert and Short Grass prairie plant communities, ranchers, arborists, insects, bacteria, rainwater, mycorrhiza, the City of Lubbock, predictive climate mapping, and students at Texas Tech University. Together, this community of actors have manifested the Mesquite Mile, a project that works to demonstrate how human communities and culture can be good kin with nature in the urban core of Lubbock, TX.

The Mesquite Mile has been described as many things: an urban afforestation project, a prairie restoration project, and a study in child-friendly urban design. For Erin and Travis, the Mesquite Mile models how human culture can contribute to the mutual flourishing of both humans and the more-than-human.

Erin and Travis both hold a BFA from Massachusetts College of Art and an MFA in Art and Social Practice from Portland State University.

Their collaborative work has been supported and recognized by art museums and cultural organizations including the Mid-America Arts Alliance’s Interchange Artists Fellowship program, Headlands Center For The Arts, Southwest Contemporary, The British Cultural Council, Stoveworks Artist Residency, The Tallgrass Artist Residency, the Brooklyn Art Museum, the Tacoma Art Museum, the Portland Art Museum, the Atlantic Center for the Arts, Temple Contemporary, the Portland Institute for Contemporary Art, the RedLine Contemporary Art Center, and numerous DIY art spaces across the United States and Canada.

Talk  /  6 pm  Dec 7  ArtSpace

Workshop  /  4pm – 530pm  Dec 8  Lump Gallery

Luis Camnitzer

Luis Camnitzer (born November 6, 1937) is a German-born Uruguayan artist, curator, art critic, and academic who was at the forefront of 1960s Conceptual Art.

Camnitzer works primarily in sculpture, printmaking, and installation, exploring topics such as repression, institutional critique, and social justice.

For over five decades, his practice has explored the psychological and political dimensions of language.

Talk  /  6 pm  Jan 11  Contemporary Art Museum Raleigh

Jonathan Michael Square

Jonathan Michael Square is a writer and historian specializing in fashion and visual culture of the African Diaspora. He has a PhD in history from New York University, a master’s degree from the University of Texas at Austin, and a B.A. from Cornell University. He has taught at the University of Pennsylvania, Fashion Institute of Technology, Parsons School of Design, and currently at Harvard University. He has written for Fashionista, Fashion Studies Journal, Refinery29, Vestoj, Hyperallergic, British Art Studies, and International Journal of Fashion Studies. A proponent in the power of social media as a platform for radical pedagogy, he founded and runs the digital humanities project Fashioning the Self in Slavery and Freedom, which explores the intersection of fashion and slavery.

Talk  /  6 pm  Jan 25  The North Carolina Museum of Art

Donal Mosher + Michael Palmieri

Donal Mosher is a filmmaker, photographer, writer, and musician. Michael Palmieri is a director, cinematographer, and editor. He and Donal Mosher are a collaborative filmmaking team. Their first feature OCTOBER COUNTRY won the Grand Jury Prize at Silverdocs, received two Cinema Eye Honors, and was nominated for a 2009 Independent Spirit Award for Best Documentary. The film is a haunting portrait of American poverty, described by A.O. Scott as a “Joyce Carol Oates novel rendered as a documentary.” Their next feature, OFF LABEL, an ensemble exploration of pharmaceutical use and abuse, premiered in competition at the 2012 Tribeca Film Festival, and was released theatrically by Oscilloscope Laboratories. Palmieri and Mosher’s “ROUGAROUING,” a short film about a rural Cajun Mardi Gras celebration, won Best Short Film at the 2014 Ashland Film Festival. Most recently, the duo expanded their short work, “PEACE IN THE VALLEY” into THE GOSPEL OF EUREKA, a feature-length documentary which premiered at the 2018 SXSW Film Festival, was released theatrically by Kino Lorber, and broadcast on POV last summer.

Alongside filmmaking Donal has published fiction, non-fiction, and reviews including a contribution to the LAMBDA Award winning anthology PORTLAND QUEER. His photo work has been shown in SF, LA, and is part of the artist registry at White Columns Gallery in NYC. His recent photographic work THE VIBRANCY IS KILLING ME was exhibited in Munich, Germany Dec 2014.

Talk  /  6 pm  Feb 8  The North Carolina Museum of Art

Arnold J. Kemp

Arnold J. Kemp (b. 1968 in Boston) lives and works in Chicago. Recent exhibitions of the artist’s work include FALSE HYDRAS (2021) at JOAN in Los Angeles and I COULD SURVIVE, I WOULD SURVIVE, I SHOULD SURVIVE (2021) at Manetti Shrem Art Museum at the University of California at Davis. Over the past decade, Kemp received awards from the John Simon Guggenheim Memorial Foundation, the Joan Mitchell Foundation, the Pollock-Krasner Foundation, and Portland Institute for Contemporary Art.

In addition, Kemp’s practice has been reviewed at length in notable art publications and newspapers, including ArtForum (2021) and The New York Times (2021). Kemp’s works are in the collections of the Metropolitan Museum of Art, the Studio Museum in Harlem, the Berkeley Art Museum and Pacific Film Archive, The Hammer Museum at UCLA, the Portland Art Museum, the Schneider Museum of Art, and the Tacoma Art Museum. Kemp’s work is represented by Martos Gallery, New York and M. LeBlanc, Chicago.

For over five decades, his practice has explored the psychological and political dimensions of language.

Talk  /  6 pm  Feb 22  The North Carolina Museum of Art

María Magdalena Campos-Pons

María Magdalena Campos-Pons (@camposponstudio) is a multidisciplinary artist and 2023 MacArthur Fellow exploring how memory, spirituality, and identity are entangled with personal and collective histories across the Caribbean. Campos-Pons’s artistic practice spans photography, performance, sculpture, drawing, painting, and video, and her works often take the form of richly layered, multi-media installations. She forges connections between her own experiences as a Cuban woman and global issues of displacement and inequality.

For The Seven Powers Came by the Sea (1992), Campos-Pons inscribed seven wooden boards shaped like a ship’s hull with stick figures representing the bodies of enslaved Africans and the name of a deity from the Yoruba religion. The invocation of the deities consecrates the space the installation inhabits and references rituals lost to the trans-Atlantic slave trade. In another early work, Replenishing (2003), Campos-Pons created a wall-based installation comprised of seven large-format Polaroid photographs of herself and her mother. The photographs represent Campos-Pons and her mother in three images each, showing the upper, middle, and lower portions of their bodies. Dividing their bodies into three components disprupts a linear narrative, but each woman holds a strand of colored beads, pictured in a seventh photograph positioned between them, invoking connection across boundaries of time and space. Campos-Pons’s ambitious installation, Alchemy of the Soul, Elixir for the Spirits (2015), draws on memories of her childhood home in a former slave barracks in Mantazas, Cuba. For the work, she configured cast and blown glass vessels into larger assemblages that recall the machinery of sugar mills and rum distilleries, two industries inextricably entwined with the history of slavery on the island. The ocean and water are recurring motifs across Campos-Pons’s imagery. For her 2019 series Un Pedazo de Mar, Campos-Pons uses gouache, watercolor, and ink to create watery blue expanses that are punctuated by figures of humans and sea creatures. The pieces remember the many people who died during the Middle Passage but also show water as a source of life and regeneration.

Beyond her own artistic practice, Campos-Pons establishes platforms for other artists to advance and exhibit their work. She is the founder and director of the Engine for Art, Democracy & Justice, an organization that connects institutions and artists from the U.S. South and the global South and supports creative work that resists and repairs legacies of inequality. Through her expansive approach to materials, themes, and imagery, Campos-Pons is nourishing and enriching the visual vocabulary of the Caribbean.

María Magdalena Campos-Pons received degrees from the National School of Art, Havana (1980) and the Higher Institute of Art, Havana (1985) and attended the MFA program (1988) at the Massachusetts College of Art. She held the Bunting Fellowship in Visual Arts at Harvard University in 1993–1994. She currently serves as the Cornelius Vanderbilt Endowed Chair and Professor of Fine Arts at Vanderbilt University, where she founded the Engine for Art, Democracy & Justice Program. She also launched Intermittent Rivers, a multi-artist initiative in Matanzas, Cuba, as part of the 2019 Havana Biennial. Her work has been presented at venues including the Haggerty Museum of Art, Marquette University; Peabody Essex Museum; National Portrait Gallery; Museum of Modern Art; Institute of Contemporary Art, Boston; List Visual Arts Center, MIT; Pérez Art Museum; Haus der Kulturen der Welt, Berlin; Johannesburg Biennial; Gwangju Biennale; Documenta; Venice Biennale; and the Brooklyn Museum.


Talk  /  6 pm  Mar 21  The North Carolina Museum of Art

Kameelah Janan Rasheed

A learner, Kameelah Janan Rasheed (she/they), grapples with the poetics-pleasures-politics of Black knowledge production, information technologies, [un]learning, and belief formation. Most recently, they are a recipient of a 2022 Schering Stiftung Award for Artistic Research; a 2022 Creative Capital Award; a 2022 Betty Parsons Fellow – Artists2Artists Art Matters Award; a 2022 Artists + Machine Intelligence Grants – Experiments with Google; and a 2021 Guggenheim Fellowship in Fine Arts. Rasheed is the author of four artist’s books: i am not done yet (Mousse Publishing, 2022); An Alphabetical Accumulation of Approximate Observations (Endless Editions, 2019); No New Theories (Printed Matter, 2019); and the digital publication Scoring the Stacks (Brooklyn Public Library, 2021). Her fifth artist book is due out in 2023 from KW Institute for Contemporary Art (Berlin, DE). Their writing has appeared in Triple Canopy, The New Inquiry, Shift Space, Active Cultures, and The Believer. They are an adjunct instructor at the Cooper Union for the Advancement of Science and Art, a Critic at Yale School of Art, Sculpture, and a Mentor-in-Residence with NEW Inc. Rasheed is represented by NOME Gallery in Berlin, Germany.

Talk  /  6 pm  Mar 21  The North Carolina Museum of Art

Dudley Edmondson

Over the last 32 years, Dudley Edmondson has become an established Photographer, Author, Filmmaker and Presenter. His photography has been featured in galleries and publications around the world. His photographic work and adventure travels have taken him to so many amazing places from the Arctic Circle of Alaska to the Bahamas.

As a young man, Dudley Edmondson discovered the power of nature and its ability to heal both the mind and body. This led Mr. Edmondson on a lifelong path to follow his passion and instill his love and knowledge of the outdoors in others and inspire a personal understanding and respect for everything nature offers. Mr. Edmondson has collaborated with numerous communities across the county to help urban youth and youth of color to experience nature and the beauty of the outdoors.

Mr. Edmondson was one of the first to highlight the involvement of African Americans in the public lands system. Unsatisfied with the representation of people of color among those in his outdoor pursuits, he created a set of Outdoor Role Models for the African American community by writing his landmark book, Black & Brown Faces in America’s Wild Places (Adventure Keen Publications, 2006). In 2021, Mr. Edmondson created a photography and film exhibit called “Northern Waters,” for the Minnesota Marine Art Museum. Dudley was recently featured in the PBS program, America Outdoors with Baratunde Thurston, discussing his passion for birding and nature, as well as the importance of diverse communities enjoying the outdoors. He is currently working on his next book and a number of film projects.

Talk  /  6 pm  Apr 4  Dix Chapel

Jen Delos Reyes

Jen Delos Reyes was born in the city of Winnipeg, Manitoba, Canada, and educated first in its local music scene of the mid-90’s infused with the energy of Riot grrrl and DIY, and then in its university. [1] How she works today is rooted in what she learned in her formative years as a show organizer, listener, creator of zines, and band member. Graduate work at the University of Regina made the space possible for her to see her work as an organizer as a key component of her continued creative work. 
Jen Delos Reyes is a ‘farmer of sorts and an artist of sorts'[2], educator, writer, and radical community arts organizer. She is defiantly optimistic, a friend to all birds, and proponent that our institutions can become tender and vulnerable. Her practice is as much about working with institutions as it is about creating and supporting sustainable artist-led culture.

Delos Reyes worked within Portland State University from 2008-2014 to create the first flexible residency Art and Social Practice MFA program in the United States and devised the curriculum that focused on place, engagement, and dialogue. The flexible residency program allowed for artists embedded in their communities to remain on site throughout their course of study.

She worked with the Portland Art Museum from 2009-14 on a series of programs and integrated systems that allowed artists to rethink what can happen in a museum, and reinvigorate the idea of the museum as a public space.

From 2015-2022 Delos Reyes was the Associate Director of the School of Art & Art History of the University of Illinois, Chicago’s only public research university, where she taught in the departments of Art and Museum and Exhibition Studies.

She was the Director and founder of Open Engagement, an international annual conference on socially engaged art that was active between 2007-2019 and hosted ten conferences in two countries at locations including the Queens Museum in New York. After over a decade of large scale organizing she is now focused on work on the scale of her life.

She is the author of I’m Going to Live the Life I Sing About in My Song: How Artists Make and Live Lives of Meaning, Everything You Ever Wanted to Know About Public Engagement But Were Afraid to Ask, and Defiantly Optimistic: Turning Up in a World on Fire.

Delos Reyes divides her time between Chicago, IL where she is the founder of Garbage Hill Farm, and Ithaca, NY where she is an Associate Professor of Art at Cornell University.

[1] Credit to Saul Alinsky in form, and for the reminder that often the most formative educational experiences happen outside of the classroom.
[2] Grateful to Wendell Berry in general, and for this descriptor I am using.

Talk  /  6 pm  Apr 18  Dix Chapel

Roland Keller

Roland initially trained as a glassblower before entering the Kunsthochschule Berlin, where he began to explore the boundaries between art and design, and ultimately between art, design and business. Since 2001 Roland has worked as a designer in the business world, first as Innovation Manager for Siemens and BenQ, and then for Swiss Post as Head of Customer Insights, Head of Strategic Projects, Head of Innovation Culture, and now Head of Corporate Development. In his current role Roland conducts strategic foresight, promotes intrapreneurship and helps shape a holistic understanding of corporate sustainability.  

Roland holds an Executive MBA in Creative Leadership from Steinbeis University; a Diploma in Product Design from Kunsthochschule Berlin; and additional studies with Henry Chesbrough at ESADE in Barcelona/Spain, with Alexander Osterwalder at Strategyzer in London/England; with Eric Ries at IDEO in San Francisco/USA.  

Throughout his career, Roland has worked to apply the “Think Global, Act Local” principle in his various positions in Sweden, Germany, the USA, South Korea and Switzerland.

Talk  /  6 pm  May 2  ArtSpace

Jean Shin

Jean Shin is known for her sprawling and often public sculptures, transforming accumulations of discarded objects into powerful monuments that interrogate our complex relationship between material consumption, collective identity, and community engagement. Often working cooperatively within a community, Shin amasses vast collections of everyday objects—Mountain Dew bottles, mobile phones, 35mm slides—while researching their history of use, circulation, and environmental impact. Distinguished by this labor-intensive and participatory process, Shin’s creations become catalysts for communities to confront social and ecological challenges.

Born in Seoul, South Korea, and raised in the U.S., Shin works in Brooklyn and Hudson Valley, New York. Her work has been widely exhibited and collected in over 150 major museums and cultural institutions, including solo exhibitions at The Museum of Modern Art in New York, Philadelphia Museum of Art, Smithsonian American Art Museum in Washington DC, and Asian Art Museum in San Francisco, where in 2020 she was the first Korean-American woman artist featured in a solo exhibition. Shin has received numerous awards, including the Frederic Church Award for her contributions to American art and culture. Her works have been highlighted in The New York Times and Sculpture Magazine, among others.

Her body of work includes several permanent public artworks commissioned by major agencies and municipalities, most recently a landmark commission for the MTA’s Second Ave Subway in NYC. She is a tenured Adjunct Professor at Pratt Institute and holds an honorary doctorate from New York Academy of Art.

Talk  /  6 pm  May 30  Dix Chapel

Alan Sonfist

In the extraordinary range of his work, Alan Sonfist recreates the inventiveness and intricacy of his subject, the natural world itself. Beginning as a teenager in the 1960s, Sonfist has explored issues of ecological deterioration, preservation, and what would later be understood as “climate change” through projects that draw on the materials and methods of the naturalist, historian, and urban planner. An increasing rejection of commercialization and growing ecological awareness in the early 1960s provide the historical context for many of the themes in Sonfist’s work and connect him to artistic movements such as Conceptual Art, Land or Environmental art, and site-specific works. But Sonfist’s distinctive interest in urban ecosystems – a result of his upbringing in New York City’s South Bronx – is one of the features that distinguishes him from other artists who use natural elements and processes as their artistic medium. Rather than excluding human history from his pieces, Sonfist is deeply attentive to the many specific histories of a given site, often juxtaposing them to powerful effect.

Talk  /  6 pm  Jun 6  Dix Chapel

Margaret Kemp

Margaret Laurena Kemp is an actor, a multidisciplinary performing artist, writer, and teaching artist, and Associate Professor of Theatre & Dance at UC Davis. She trained at The George Washington University at The Shakespeare Theatre and has a B.S. in Interdepartmental Studies from the School of Speech at Northwestern University. She is also the Director of Creative Projects and an Advisory Group member for the nonprofit Fitzmaurice Institute, as well as a Master Teacher and Lead Trainer for the Fitzmaurice Voicework Teacher Certification Program. She has performed at Arena Stage, Mark Taper Forum, Yale Repertory, South Coast Repertory, La Mama Theatre (Melbourne, Australia), Theatre of Changes (Athens, Greece), Red Pear Theatre (Antibes, France), and The Magnet Theatre (Cape Town, South Africa).

She won worldwide praise for her starring role in the film Children of God. Other screen credits include the supernatural film thriller Blood Bound, The Orlando Jones Show, and Commander in Chief. Her visual work has been shown in solo and group shows at Art Share Los Angeles and The National Gallery of Art in Nassau, Bahamas. Her recent work CITE was shown at the Elaine Jacobs Gallery in Detroit, Michigan in 2019.

Her research explores authorship and spatial politics through performance. Within actor training environments, while specifically teaching voice, speech, movement and acting, she incorporates and re-contextualizes interdisciplinary topics such as Identity, Movement Theory, Accents-Dialects, Contemporary and Classical Heightened text, Solo Performance, and Devised Theatre.


Talk  /  6 pm  Jun 13  The North Carolina Museum of Art

DeWitt Godfrey

DeWitt Godfrey is an American sculptor, best known for his large abstract constructions of banded steel installed in public sites. Godfrey was born in Houston, Texas, and raised in Kalamazoo, Michigan; he earned a B.A. in art from Yale University in 1982 and an M.F.A. in sculpture from the Edinburgh College of Art as a Fulbright Scholar in 1996. Godfrey is the recipient of numerous awards and fellowships, including the National Endowment for the Arts, the Henry Luce Foundation, the New York Foundation for the Arts and the Japan Foundation, among others. From 2008 to 2016 he served on the board of the College Art Association and was formerly the director of the Institute for Creative and Performing Arts at Colgate University, where he is a professor in the Department of Art and Art History. He lives in Central New York and New Orleans.

Talk  /  6 pm  Jun 20  Dix Chapel