D. GRAHAM BURNETT is based in New York City. He trained in the history and philosophy of science, and works at the intersection of historical inquiry and artistic practice. Recent work includes: “Schema for a School” (with Asad Raza and Jeff Dolven) at the Ljubljana Biennial (2015) and The Shed (2018); and “El Halo del Cuidar” (with Lane Stroud and Gabriel Pérez-Barreiro) at the Reina Sofia (2019). Burnett is associated with the research collective ESTAR(SER) and the “Friends of Attention.” He teaches at Princeton.
ALISON BURSTEIN is the Curator of Media and Engagement at The Kitchen in New York. As an independent curator, she has curated exhibitions or programs for institutions including Tenthaus (Oslo), Mana Contemporary (Jersey City), The Luminary (St. Louis), Knockdown Center (Queens), Museum of Jurassic Technology (Los Angeles), and NURTUREart (Brooklyn).
STAMATINA GREGORY is the Director of Curatorial Programs at the Leslie-Lohman Museum of Art. She has organized exhibitions for institutions including The Cooper Union, FLAG Art Foundation, Austrian Cultural Forum, the Institute of Contemporary Art, Philadelphia, and the Santa Monica Museum of Art, and was the Deputy Curator of the inaugural pavilion of The Bahamas at the 55th Venice Biennale.
LARISSA HARRIS is a curator at the Queens Museum. Exhibitions at QMA include Red Lines Housing Crisis Learning Center, a project on home finance by artist and urban designer Damon Rich; the first US solo presentation of Korean video and performance artist Sung Hwan Kim; People’s United Nations (pUN) by Pedro Reyes; 13 Most Wanted Men: Andy Warhol at the 1964 World’s Fair; and, with Patti Phillips, Mierle Laderman Ukeles: Maintenance Art.
LEIGH CLAIRE LA BERGE, PhD, professes at the intersection of arts, literature, visual culture and political economy. She is the author of Scandals and Abstraction: Financial Fiction of the Long 1980s (Oxford University Press) and Wages Against Artwork: Decommodified Labor and the Claims of Socially Engaged Art (Duke University Press, 2019). She is Associate Professor of English in the Department of English at BMCC CUNY.
CYBELE MAYLONE, also see here, is the Executive Director of The Aldrich Contemporary Art Museum. A non-collecting institution located in Ridgefield, CT, The Aldrich was one of the first contemporary art museums in the country and is today one of the oldest. Prior to leading The Aldrich, Maylone spent five years as the Executive Director of UrbanGlass in Brooklyn, NY.
STEVEN MATIJCIO is the Director and Chief Curator of the Blaffer Art Museum. He won a 2010 Emily Hall Tremaine Exhibition Award for the project “paperless” and in 2012 he was the curator of the fourth Narracje Festival in Gdansk, Poland. Matijcio was also commissioned by the Robert Mapplethorpe Foundation in 2003 to curate one of their first online exhibitions.
STEPHANIE OWENS is the Head of School at Plymouth College of Art and an independent curator. Owens’s curatorial projects include Technologies of Place, funded by New York Foundation for the Arts, SELF[n]: Art & Distributed Subjectivity, Intimate Cosmologies: The Aesthetics of Scale in an Age of Nanotechnology (Cornell University), and Abject/Object Empathies (Cornell University).
PATRICIA C. PHILLIPS is Chief Academic Officer at Moore College of Art & Design and an independent writer and curator. Phillips is the author of City Speculations, It is Difficult: Alfredo Jaar, and Ursula von Rydingsvard: Working. Phillips’s curatorial projects include a one-person exhibition on the artist Mierle Laderman Ukeles at the Queens Museum in Flushing, Queens and Making Sense: Five Artists’ Installations on Sensation at the Katonah Museum of Art, Katonah, New York.
SHEETAL PRAJAPATI is an educator, artist, and advisor working across the field of art and public engagement. Sheetal is currently on faculty at School of Visual Arts (New York) in the MFA Fine Arts program and works as an advisor and consultant in the field through her agency Lohar Projects. Previously, Sheetal served as the first Director of Public Engagement at Pioneer Works and the Assistant Director of Learning and Artists Initiatives at The Museum of Modern Art.
CAITLIN JULIA RUBIN is a curator at the Rose Art Museum at Brandeis University. Since joining the Rose Art Museum, she has organized exhibitions and projects by Mark Dion, Rosalyn Drexler, Jennie C. Jones, and Tuesday Smillie, among others, and collaborated with visiting artists to foster new, site-responsive initiatives, including Caroline Woolard’s INDEX: The Meeting (2019–20).
TINA RIVERS RYAN, PhD, is a curator, historian, critic, and educator specializing in art since the 1960s. Her work focuses on the uses of new media technologies. She holds five degrees in art history, including a BA from Harvard and PhD from Columbia.
GABRIELLE LAVIN SUZENSKI, Rochelle F. Levy Director of The Galleries at Moore College of Art & Design, began her career in the Fabric Workshop and Museum's post-college apprenticeship program, which led to a full time position working with the founder / artistic director in coordinating the museums's relocation in 2006. She has an MBA in Entrepreneurship & Innovation and a BFA in Sculpture and Printmaking, both from Penn State University.
Since 1977, when MIERLE LADERMAN UKELES became the official, unsalaried Artist-in-Residence at the New York City Department of Sanitation — a position she still holds — she has created art that deals with the endless maintenance and service work that “keeps the city alive,” urban waste flows, recycling, ecology, urban sustainability and our power to transform degraded land and water into healthy inhabitable public places.
HELEN HOFLING is a Baltimore-based writer, editor, and collage-maker. Her work can be found in Barrow Street, Berkeley Poetry Review, The Columbia Review, Electric Literature, Prelude, Passages North, and elsewhere. She teaches writing at Loyola University Maryland.
Every reasonable attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions.
Leigh Claire La Berge, Jaclyn Dooner, Paige Landesberg, Aaron Landsman, Robert Ransick
Phoebe van Essche, Jenna Litton, Ruby Mayer, Sylvia Minehan, Amalia Petreman, Tess Seaver, Lydia Thompson, Alexander Terjak Wall, Rachel Yinger
Daniel Chou, João Enxuto, Maureen France, Joseph Hu, Herman Jean-Noel, Levi Mandel, Nicole Steinberg, Aaron Strauss, Martyna Szczęsna, Mel Taing, Ryan Tempro, Filip Wolak
MADE POSSIBLE BY
Miriam Gallery Moore College of Art & Design
This book has been developed with support from Moore College of Art & Design’s prestigious Jane and David Walentas Endowed Fellowship. The fellowship, endowed by Jane Zimmerman Walentas, who graduated from Moore in 1966, and her husband, David, underscores Moore’s ongoing commitment to social engagement by offering opportunities to thoughtful artists who bring their vision for the future of cultural production to the Moore community and the larger artistic community of Philadelphia. Caroline Woolard served as Moore’s inaugural Walentas Fellowship Artist from 2018–2020.
Text and image copyright 2020: Caroline Woolard
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Caroline Woolard and Onomatopee are happy for others to modify and share this work, with attribution, under a Creative Commons Attribution-ShareAlike license.
Please visit CarolineWoolard.com to discover different ways of engaging with the works in this book.
This book would not be possible without Patricia C. Phillips’ vision, Angela Lorenzo’s design expertise, Freek Lomme’s support, Paige Landesberg’s encouragement and editorial assistance, and feedback from the following readers: Jen Abrams, Leigh Claire La Berge, Jaclyn Dooner, Phoebe van Essche, Susan Jahoda, Paige Landesberg, Aaron Landsman, Helen Lee, Jenna Litton, Ruby Mayer, Sylvia Minehan, Adelheid Mers, Amalia Petreman, Robert Ransick, Tess Seaver, Lydia Thompson, Alexander Terjak Wall, and Rachel Yinger.