Our Book to Come (this week, last year)

Six Mondays, Jan. 29, Feb. 12 & 26, March 5, 19 & 26, 7:30 p.m.

An interactive lecture series led by Richard Fletcher, Associate Professor in the Department of Classics at The Ohio State University, based on his blog Minus Plato, exploring the process of reforming the daily posts written last year into thematic chapters of an upcoming book. The first and last lectures will take place during installation and de-installation of Season Zero.


Wager of Word

Tuesday, Feb. 6, 6:30 p.m.

Writer and thinker Jennifer Teets conceives an evening on fictocritique, materialisms and tone, with Michael Van den Abeele (artist and co-founder of Établissement d’en face, Brussels), writer Dodie Bellamy, and Gean Moreno (Curator of Programs, ICA Miami).


Listening To: Pop Resistance

Thursday, Feb. 15, 6:30 p.m.

Robert Loss, Assistant Professor at Columbus College of Art & Design, leads a listening event on Afrofuturism and pop music since 2000, based on his new book Nothing Has Been Done Before (Bloomsbury). In talking about the music of Janelle Monáe, Loss writes “Monáe’s commitment to her cyborg persona not only shows how any performer struggles with the pressure to construct a simplified self, it also makes us ask more questions, questions that might lead to the expansion of what identity means in the first place.”


With special guest: Sharon Udoh of Counterfeit Madison.


Counterfeit Madison is the musical manifestation of Columbus, Ohio residents Sharon Udoh, Adam Hardy, and Seth Daily. Udoh is a versatile artist; her funky yet classical piano-playing and soul and gospel-tinged voice comfortably compliment Hardy’s grungy yet melodic style and Daily’s dynamic and driving rhythms. The great American songwriter John Darnielle of The Mountain Goats says the following of Counterfeit Madison, about their first album, Opened And Shut: “A follower sent me a link to this ridiculously talented songwriter. Try the third tune, “Don’t Cry Wolf,” first, then dig into the rest. Wow, wow. Expect to hear more from Counterfeit Madison, I’d guess.“


Counterfeit Madison recently released their second full-length, Opposable Thumbs, on Anyway Records to warm and exciting reviews in Columbus Alive, 614, Stereogum, MXDWN, and Afropunk in November 2017. The album includes wild and reckless moments resembling demonic deliverances, poignant songwriting, and even tender ballads, seemingly abandoning genre altogether. Their live presentation is no different—it truly is magnetic, raucous, and unforgettable.


Sharon performs next at Ace Of Cups on February 28, 2018, opening for Ezra Furman, and at the same venue on March 19, opening for Half Waif.


Beeler Gallery Visiting Artists & Scholars Lecture Series

Thursday, Feb. 8, 6:30 p.m.

Nancy Brooks Brody, Joy Episalla, and Carrie Yamaoka of the New York-based queer women collective fierce pussy (formed with Zoe Leonard in 1991) will speak ahead of the four members’ upcoming seasons at Beeler Gallery at Columbus College of Art & Design in fall 2018 and spring 2019, which will be devoted to the resonances amongst their individual practices and the way in which the abstraction in their works activates perceptual and political agencies. Moderated by Jill Casid, Professor of Visual Studies at the University of Wisconsin-Madison.


Formed in New York City in 1991 through their immersion in AIDS activism during a decade of increasing political mobilization around gay rights, fierce pussy brought lesbian identity and visibility directly into the streets. Low-tech and low budget, the collective responded to the urgency of those years, using readily available resources: old typewriters, found photographs, our own baby pictures, and the printing supplies and equip.m.ent accessible in their day jobs. Originally fierce pussy was composed of a fluid and often shifting cadre of members. Four of the original core members—Nancy Brooks Brody, Joy Episalla, Zoe Leonard, and Carrie—continue to work together.


fierce pussy projects included wheat pasting posters on the street, renaming New York City streets after prominent lesbian heroines, re-designing the restroom at the LGBT community center, printing and distributing stickers and t-shirts, a greeting card campaign, a video PSA and more recently, various installations and exhibitions in galleries and museums. fierce pussy had been included in group exhibitions at Greater New York, MoMA PS1, New York (2015), Harvard Carpenter Center for the Visual Arts (2009), and has had a solo project at Printed Matter, New York (2008). Forthcoming in June 2018, they will have a project for Queer Power, a facade installation at the Leslie Lohman Museum, New York. More info on fierce pussy can be found on:


Nancy Brooks Brody has recently been included in group exhibitions in “Trigger: Gender as a Tool and a Weapon,” New Museum, New York (2017-2018), Frac Haute-Normandie, France (2015), Bortolami Gallery, New York (2017), and Greater New York, MoMA PS1, New York (2015). Her first group exhibition was at Club 57, New York, curated by Keith Haring (1980). She has had solo exhibitions at Andrew Kreps Gallery, New York and Galerie Joseph Tang, Paris, curated by Jo-ey Tang.


Joy Episalla has had solo exhibitions and projects at Participant, Inc, New York (2015), International Center of Photography, New York (2016), Mercer Union, Toronto (2000), and her work has recently been included in group exhibition s Greater New York, MoMA PS1 (2015), Bronx Museum of the Arts (2016), Oakville Galleries, Toronto (2013), White Columns (2010), Harvard Carpenter Center for the Visual Arts (2009), and Wexner Center for the Arts (2005)..


Carrie Yamoaka is a 2017 recipient of Anonymous Was a Woman Award. Solo exhibitions include Lucien Terras (2015), Paul Kasmin Gallery (2014), and Debs & Co., NYC (1997, 2002, 2004). She has participated in group exhibitions in Greater New York, MoMA PS1, New York (2015), Wexner Center for the Arts (2005), MassMOCA (2002), Victoria & Albert Museum (1996), and currently Galerie Crèvecoeur, Marseilles (2018).


Nancy Brooks Brody, Joy Episalla, and Carrie Yamaoka participated in Dust: the Plates of the Present, curated by Sonel Breslav, Camera Club NY at Baxter Street, NYC (2015) and Galerie Praz-Delavallade, Paris (2017), as part of a project co-organized by Jo-ey Tang and Thomas Fougeirol.


Zoe Leonard’s forthcoming survey exhibitions will take place at The Whitney Museum of American Art, and Museum of Contemporary Art, Los Angeles, both in 2018. Group exhibitions include National Gallery of Art (2018), S.M.A.K, Ghent (2017), La Triennale di Milano (2017), Columbus Museum of Art (2016), The Met Breuer (2016), Punta Della Dogana, Venice (2015), the Whitney Biennial (2014), Musée d’Orsay, Paris (2013), Whitechapel Gallery (2012), and Villa Arson, Nice (2007).


Jill H. Casid is Professor of Visual Studies at the University of Wisconsin-Madison where she founded and served as the first director of the Center for Visual Cultures. A historian, theorist, and practicing artist, her contributions to the transdisciplinary field of visual studies include her monographs Sowing Empire: Landscape and Colonization (Minnesota, 2006) which received the College Art Association’s Millard Meiss award and Scenes of Projection: Recasting the Enlightenment Subject (Minnesota, 2015) and the edited collection Art History in the Wake of the Global Turn (Yale, 2014) co-edited with Aruna D’Souza. She is currently completing the two-book project Form at the Edges of Life.


Friday, Feb. 16, 6:30 p.m.

Beeler Gallery’s new Director of Exhibitions Jo-ey Tang will speak with his predecessors Dr. Natalie Marsh (Director and Chief Curator of the Gund Gallery, Kenyon College), Michael Goodson (Senior Curator, Wexner Center for the Arts) and James Voorhies (Dean of Fine Arts, California College of the Arts), as well as Assistant Director of Exhibitions and former Interim Director of Exhibitions Ian Ruffino about the unique role of galleries within an art school context, the evolution of Beeler Gallery, and what it means to “take over” a space from a predecessor. Moderated by Michael Mercil, artist and professor, Interim Chair, Department of Art, The Ohio State University. Postscript by Merijn van der Heijden, interim director of Ohio State University’s Urban Arts Space, to be published as part of a downloadable bulletin pdf on


Thursday, Feb. 22, 6:30 p.m.

Neil Goldberg, known for his video, photo, and performance work about embodiment, sensing, mortality, and the everyday, will speak at Beeler Gallery following a Feb. 21 performance at Idea Foundry, co-presented by Wexner Center for the Arts and CCAD Graduate Studies.


Goldberg has exhibited at venues including The Museum of Modern Art (permanent collection), The New Museum of Contemporary Art, The Museum of the City of New York, The Kitchen, The Hammer Museum, The Pacific Film Archive, NGBK Kunsthalle Berlin, and El Centro de Cultura Contemporània de Barcelona, among others. His work has been produced with fellowships from the John Simon Guggenheim Foundation, the New York State Council on the Arts, the Lower Manhattan Cultural Council, the Experimental Television Center, Harpo Foundation, CEC ArtsLink, Stillpoint Fund, Yaddo, and the MacDowell Colony. Goldberg teaches at the Yale School of Art and Parsons, was resident faculty at the Skowhegan School of Painting and Sculpture, and have served as a visiting artist at Cooper Union, The School of Visual Arts, New York University, the Rhode Island School of Design, the MIT Media Lab, and UCLA, among others.



Thursday, March 1, 6:30 p.m.

Artist Les Levine (founder of art tabloid Culture Hero, on view in the galleries) will speak with Sarah Robayo Sheridan (Curator at the Art Museum at the University of Toronto) about his work that spans five decades. In 2017, the exhibition Les Levine: Transmedia, dedicated to his work in the 1960s and 1970s, curated by Sheridan, took place at Oakville Galleries, Canada. Known for his heterogeneous output, including vacuum-formed acrylic pod in the 1960s, videos in the 1970s, and billboards in the 1980s and 1990s, Levine has long incorporated documentation, interviews and encounters with other artists in his video works, actively engaging in the mythic realities of artists roles in society.


Two Les Levine’s films that examine the role of the artists, will be on rotation the weekend of March 3 and 4.


I Am An Artist, 15 min, 1975


A camera follows the artist along New York’s Bowery while the artist explains how he does not want to get involved in problems of society. From time to time a Bowery derelict attempts to involve the artist, but the artist resists involvement.


Analyze Lovers: The Story of Vincent, 41 min, 1990
The critic and curator John Perreault plays Vincent van Gogh, interspersed with interviews with curator Jan Hoet, former MoMA PS1 director Alanna Heiss, and painter Malcolm Morley, among others, instigating the confluence and positions embedded in the artistic, social and economic lives of artists. In “I Am An Artist”, the artist walks on the Bowery in New York, in a kind of refusal and provocation aiming at the border between artists and the world at large.


Saturday, March 3, 3:30 p.m.

Dushko Petrovich, artist and co-founder of arts journal Paper Monument, will speak about his art publishing projects and present The Daily Gentrifier East and West Coast Editions, and will lead a discussion of the local situation as a first step in producing a Columbus edition of Flyover Flyer, which will be released at Beeler Gallery later this Spring, along with Philadelphia, Nashville, Detroit, and Chicago editions. The double-sided broadsheet edition of The Daily Gentrifier, that explores the “crafty, organic, and hyper-local” ethical and aesthetic positions of gentrification of the American coasts, was previously launched at the New York Art Book Fair and LA Art Book Fair. Petrovich is Program Director, New Arts Journalism, School of the Art Institute of Chicago.


Tuesday, March 6, 11 a.m. – 12 p.m.

Emily Spivack

A lecture by Emily Spivack, artist, writer, and editor whose work draws from contemporary culture, clothing, history, and our relationship to everyday objects. She is the author of Worn in New York (2017), a contemporary cultural history of New York told through clothing, which is a follow-up to her New York Times bestseller Worn Stories (2014) and (2010), collections of stories about clothing and memory. Spivack created Threaded, the Smithsonian’s only blog about the history of clothing. She made, an online archive of nearly 1,000 step-by-step instructions culled from wikiHow. For more info:


Friday, March 23, 6:30 p.m.

A talk by New York-based artist Sable Elyse Smith, whose practice calls attention to confining structures in society and the often invisible ways in which they shape our minds or direct our bodies, focusing on quotidian violence in the institution of language and the carceral system.

Smith’s solo exhibition “Ordinary Violence”, took place in Queens Museum, New York, in 2017. She was recently included in “Trigger: Gender as a Tool and a Weapon”, New Museum, New York. She has performed at the Museum of Modern Art, the New Museum, Eyebeam, and Yerba Buena Center for the Arts, San Francisco, CA. Her work has also been screened at Birkbeck Cinema in collaboration with the Serpentine Galleries, London, Artist Television Access, San Francisco, and MoMA Ps1, New York. Her writing has been published in Radical Teacher, Selfish, Studio Magazine and with Recess Art’s Critical Writing Fellowship. Smith has received grants & fellowships from Creative Capital, the Queens Museum, Skowhegan School of Painting and Sculpture, the Franklin Furnace Fund, and Art Matters. She is currently part-time faculty at Parsons The New School for Design and a visiting Faculty at Virginia Commonwealth University in the Sculpture and Extended Media department.

Two videos by Sable Elyse Smith will be screen on rotation in Beeler Gallery, the weekend of March 24 & March 25:

How We Tell Stories To Children, 5 min 10 sec, 2015

Untitled, 4 min 55 sec, 2012

CCAD Graduate Studies Talks

Each semester, Beeler Gallery hosts CCAD’s Graduate Studies Talks, which are free and open to the public. Here is the fall 2017 schedule:


Nate Ricciuto
Friday, Sept. 15, 2017
6:30 p.m.
Canzani Center Screening Room


Nate Ricciuto is an artist living and working in Columbus, Ohio. His imaginative sculptures often utilize optical phenomena in seeking ways to navigate the relationship between craft, technology, and intuition. Ricciuto earned an MFA from Tyler School of Art in Philadelphia and has taught as a Visiting Lecturer at both Temple University and Ohio State University. His work has been included in national and international exhibitions and featured in the Corning Museum of Glass’s New Glass Review. In 2016, Ricciuto was the recipient of a WheatonArts Creative Glass Center of America Fellowship and was selected to be an Emerging Artist in Residence at Pilchuck Glass School.


Ricciuto will discuss his work on Friday, Sept. 15, at 6:30 p.m. at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave. | Columbus, OH 43215 | entrance on E. Gay Street). For more information, click here.


Rodrigo Valenzuela
Tuesday, Sept. 19, 2017
6:30 p.m.
Canzani Center Screening Room 


Born in Santiago, Chile, Rodrigo Valenzuela is a Los Angeles-based artist working in photography, video, painting, and installation. Using autobiographical threads to inform larger universal fields of experience, his work constructs narratives, scenes, and stories that point to the tensions found between the individual and communities. Much of Valenzuela’s work deals with the experience of undocumented immigrants and laborers. This fall, he will assume the position of assistant professor of art at University of California, Los Angeles.


Valenzuela studied art history and photography at University of Chile (2004), received a BA in Philosophy from The Evergreen State College in 2010, and an MFA from the University of Washington in 2012. Recent residencies include the Core Fellowship at the Museum of Fine Arts, Houston (Texas); Skowhegan School of Painting & Sculpture (Maine); MacDowell Colony (New Hampshire); Bemis Center for Contemporary Arts (Nebraska); Lightwork (Syracuse); and the Center for Photography at Woodstock (New York). Recent solo exhibitions include Lisa Kandlhofer Galerie, Vienna, Austria (2016); Ulrich Museum, Kansas (2016); University of Memphis Museum, Tennessee (2016); Klowdenmann Gallery, LA (2016); David Shelton Gallery, Houston (2016); the Frye Art Museum, Seattle (2015); Museo de Arte Contemporaneo, Santiago (2015); envoy enterprises, New York (2015); and Upfor Gallery, Portland, Oregon (2015). Valenzuela is currently a fellow at The Drawing Center open session program.


Valenzuela will discuss his work Tuesday, Sept. 19, at 6:30 p.m. at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave. | Columbus, OH 43215 | entrance on E. Gay Street). For more information, click here.


Sarah Rose Sharp
Thursday, Oct. 5, 2017
6:30 p.m.
Canzani Center Screening Room


Sarah Rose Sharp is a Detroit-based writer, activist, photographer and multimedia artist. She writes about art and culture, online and in print, for Art in America, Hyperallergic, The Believer, Sculpture Magazine, Flash Art, ArtSlant, and others. She was named a 2015 Kresge Literary Arts Fellow for Arts Criticism and was selected as a participant in the 2015 Art Writing Workshop facilitated by AICA/USA and the Art Writers Grant Program. She has shown work in New York, Seattle, and Detroit — including participation in the 2014 Ofrenda group show at the Detroit Institute of Arts — with solo shows at Public Pool in November 2016, and another at Simone DeSousa Gallery in January 2017. She is primarily concerned with artist and viewer experiences of making and engaging with art, and conducts ongoing research in the state of contemporary art in redeveloping cities, including a process blog called “Breakfast with the Artist.”


Sharp will discuss her work Thursday, Oct. 5, at 6:30 p.m. at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave. | Columbus, OH 43215 | entrance on E. Gay Street). For more information, click here.


Malcolm Cochran
Friday, Nov. 3, 2017
6:30 p.m.
Canzani Center Screening Room


In conjunction with the International Sculpture Center, The Ohio State University, and CCAD’s MFA program, Beeler Gallery presents an evening with Malcolm Cochran.


Cochran, Distinguished Visiting Artist at Columbus College of Art & Design and Professor Emeritus, Department of Art, The Ohio State University, is the recipient of the prestigious International Sculpture Center’s Outstanding Educator Award for 2017.


Works such as Field of Corn (with Osage Orange Trees) in Dublin, the Goodale Park Fountain, and In Principle & in Practice at the Ohio Judicial Center have gained Cochran a well-deserved reputation as a sculptor to know in central Ohio and beyond.


Cochran will receive the International Sculpture Center’s 2017 Outstanding Educator Award and then discuss his work Friday, Nov. 3, at 6:30 p.m. at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave. | Columbus, OH 43215 | entrance on E. Gay Street). For more information, click here.


Cara Benedetto
Friday, Dec. 1, 2017
6:30 p.m.
Canzani Center Screening Room


Cara Benedetto is an artist and writer. Her text and performance-based works use language to confound communication and subvert power structures. Often, she will take up vernacular and structures from romance novels, fundraisers, and advertisements. She then shifts, mutates, and destabilizes these forms. Benedetto is an Assistant Professor in Print Media at Virginia Commonwealth University.


Her work has been shown at Metro Pictures, MOCA Cleveland, MOMA Warsaw, and Art in General. Her writing has been published with Qui Parle, The Third Rail, C Magazine, and Badlands Inc. She is the editor of the Contemporary Print Handbook, published with Halmos. She is represented by Chapter NY, and Night Gallery in Los Angeles.


Benedetto will discuss her work Friday, Dec. 1, at 6:30 p.m. at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave. | Columbus, OH 43215 | entrance on E. Gay Street). For more information, click here.

Suzanne Silver

Suzanne Silver
Thursday, Nov. 16, 2017
5 p.m. talk | reception to follow
Canzani Center Screening Room


In conjunction with the exhibition Suzanne Silver: Codes and Contingencies, Beeler Gallery presents a talk featuring the Columbus-based artist.


WARNING: Semaphore signals, international maritime flags, Morse code, and color-coded poems signal cryptic pictures of distress in Suzanne Silver’s site-specific installation at Beeler Gallery. Over the course of seven weeks, beginning Nov. 9, 2017, Silver will construct and deconstruct the exhibition space, encoding and decoding it with an interlacing of official and personal systems of communication in which color, geometry, and space create and obscure messages as conveyers of alarm.


Silver constructs messages that communicate through associative properties rather than functional reality and that register without revealing literal meaning. Beginning with structure — the quadrant positions of flags that a sailor would hand-activate in semaphore signaling, for instance — Silver deviates from the established order and positioning to abstract form, thereby introducing error. These “error messages” do not signal failure but a generative process that allows for distortion and invention and that reshapes materials to signify anew.


Silver’s idiosyncratic color-coding of poetry, use of Braille, and creation of three-dimensional forms of written punctuation marks continue her explorations of the relationship between literary text and visual cognition. By working with distress signals of the various modes of communication, Silver allows for the intersection of aesthetics and politics in which art activates a space of resistance. Her poetical-political constructions, visual punning, and spatiotemporal arrangements of abstraction turn uncertainty and distress into the possibility of art, and interference into the emergence of a new contingent language.


Silver is an Associate Professor in the Paint­ing & Drawing Program of the Department of Art at The Ohio State University. Silver studied at the Ecole des Beaux Arts in Paris and received an AB from Smith College and an MFA at The Ohio State University. She has exhibited her work internation­ally, including the Axel Raben Gallery in New York, Nexus Contemporary Art Center (Atlanta), Contemporary Jewish Museum (San Fran­cisco), David Yellin College (Jerusalem), Castle of Otranto (Otranto, Italy), the Weston Art Gallery (Cincinnati), The Bureau for Open Culture, the Center for Ongoing Research & Projects (Columbus), Ortega y Gasset Projects (Brooklyn), and the Columbus Museum of Art.


Silver received an Ohio Arts Council Individual Excellence Award and grants in mixed media and in 3D art from the Greater Columbus Arts Council and drawing from the Virginia Commission for the Arts. Her artist’s book Blacklists/Whitelists was published by Logan Elm Press. Silver’s art and writing have appeared in such publications as the American Abstract Artists Journal and Images: A Journal of Jewish Art and Visual Culture and can be found in the Avant-Writing Collection at OSU.


Silver will talk at 5 p.m. Thursday, Nov. 16, at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave. Entrance on E. Gay Street). A reception will follow. The event is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.

David St. John, credit Stephani Diani

The Poet’s Life: A Reading & Film Screening
Thursday, Nov. 9, 2017
4:30 p.m. reading & 5:30 p.m. film screening
Canzani Center Screening Room


Beeler Gallery presents an evening of poetry and film on the meaning of becoming a poet. Poet David St. John will open with a reading from his work, to be followed by a documentary, A Late Style of Fire, that reflects on the life of his close friend, the late Larry Levis. When Levis died in 1996, he left behind an oeuvre impressionable on predecessors, contemporaries, as well as younger poets. The documentary features the music of Sam Beam, of Iron & Wine, and will be followed by a Q&A with the filmmakers, Michele Poulos and Gregory Donovan (also poets), as well as St. John.


The event is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.


About the Artists
David St. John
David St. John has been honored with many prizes for poets, including both the Rome Fellowship and the Award in Literature from the American Academy and Institute of Arts and Letters, the O. B. Hardison Prize (a career award for teaching and poetic achievement) from The Folger Shakespeare Library, and the George Drury Smith Lifetime Achievement Award from the Beyond Baroque Literary Arts Foundation. He is the author of 11 collections of poetry (including Study for the World’s Body, nominated for The National Book Award in Poetry), most recently the collection, The Last Troubadour: New and Selected Poems, as well as a volume of essays, interviews and reviews entitled Where the Angels Come Toward Us. He is the editor of two posthumous collections of poetry by Larry Levis: The Selected Levis and The Darkening Trapeze: Last Poems. He is also the co-editor of American Hybrid: A Norton Anthology of New Poetry. St. John has written libretti for the opera, THE FACE, and for the choral symphony, THE SHORE. A member of the American Academy of Arts & Sciences and a Chancellor of the Academy of American Poets, St. John is University Professor and Chair of English at The University of Southern California.


Michele Poulos
Michele Poulos is an award-winning screenwriter, award-winning poet, and filmmaker. She earned a BFA in film from Tisch School of the Arts at New York University, an MFA in creative writing (fiction) from Virginia Commonwealth University, and an MFA in creative writing (poetry) from Arizona State University. While at NYU, she worked as an intern for Albert Maysles at his production company Maysles Films. Her original screenplay, Mule Bone Blues (about Zora Neale Hurston and Langston Hughes [with consultations by Zora’s niece, Lucy Ann Hurston]), won the 2010 Virginia Screenwriting Competition and placed in the second round of the 2015 and 2017 Sundance Screenwriters Lab Competition and the second round of the 2010 Austin Screenplay Competition. Her first full-length poetry collection, Black Laurel, was published by Iris Press in 2016. Her poetry chapbook, A Disturbance in the Air, won the 2012 Slapering Hol Press Chapbook Competition. She recently completed co-writing a romantic comedy about a stand-up comic.


Gregory Donovan
Gregory Donovan is the author of Torn from the Sun (Red Hen Press, April 2015) and Calling His Children Home (University of Missouri Press), which won the Devins Award for Poetry. His poetry, essays, and fiction have appeared in The Kenyon Review, The Southern Review, New England Review, 42opus, diode, Crazyhorse, Hayden’s Ferry Review, Gulf Coast, Copper Nickel, and many other journals, as well as in a number of anthologies, including Common Wealth: Contemporary Poets of Virginia (University of Virginia Press). Among other awards for his writing, he is the recipient of the Robert Penn Warren Award from New England Writers, as well as grants from the Virginia Commission for the Arts and fellowships from the Ucross Foundation and the Virginia Center for the Creative Arts. Donovan is on the faculty of the graduate creative writing program of Virginia Commonwealth University, where he has often served as its Director of Creative Writing, and he is Senior Editor for Blackbird: an online journal of literature and the arts.


Photo: David St. John. Credit: Stephani Diani.

Kent Lambert

Kent Lambert: In the Public Domain
Thursday, Oct. 19, 2017
6:30 p.m.
Canzani Center Screening Room

Kent Lambert is a Chicago-based musician and media artist. His vocal-driven art-pop music and pop-inflected video art repurpose industrial and commercial media. His ever-mutating band Roommate has been performing stateside and abroad since the early 2000s. The screening will feature selections from the Video Data Bank’s Videoworks Vol. 1 compilation, music videos, and the first two installments of an ongoing mixed-reality series, RECKONING 3 (2013) and RECKONING 4 (2016).

Nilah Magruder

Cartoon Crossroads Columbus
Saturday, Sept. 30, 2017
7 p.m. | Reception

8 p.m. | Panel discussion 
Canzani Center


Beeler Gallery hosts the citywide comics festival Cartoon Crossroads Columbus, presenting a panel discussion featuring Kelly Sue DeConnick, Nilah Magruder, and Ann Nocenti. The four-day event takes place around Columbus including the Wexner Center for the Arts, Columbus Museum of Art, Billy Ireland Cartoon Library & Museum, and Columbus Metropolitan Library, from Sept. 28 to Oct. 1.


The event is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.


About the Artists

Kelly Sue DeConnick
Kelly Sue DeConnick got her start in the comic industry adapting Japanese and Korean comics into English. Five years and more than 10,000 pages of adaptation later, she transitioned to American comics with 30 DAYS OF NIGHT: EBEN AND STELLA, for Steve Niles and IDW. Work for Image, Boom, Oni, Humanoids, Dark Horse, DC, Vertigo, and Marvel soon followed. Today, DeConnick is best known for surprise hits like Carol Danvers’ rebranding as Captain Marvel and the Eisner-nominated mythological western, PRETTY DEADLY; the latter was co-created with artist Emma Ríos. DeConnick’s most recent venture, the sci-fi kidney-punch called BITCH PLANET, co-created with Valentine De Landro, launched to rave reviews in December 2014. DeConnick lives in Portland, Oregon, with her husband, Matt Fraction, and their two children.


Nilah Magruder
Nilah Magruder is a writer and artist in Los Angeles. She was the 2015 winner of the Dwayne McDuffie Award for Diversity in Comics, and the first African-American Woman to write for Marvel Comics (the digital comic A Year of Marvels in 2016). She currently works for Disney Animation, and her book How To Find a Fox was published by Feiwel & Friends in 2016. Nilah received a BA in communication arts from Hood College and a BFA in computer animation from Ringling College of Art and Design. She has illustrated for comics, children’s books, film, and commercial television. When she is not drawing or writing, Magruderis reading fantasy novels, watching movies, rollerskating, and fighting her cat for control of her desk chair.


Ann Nocenti
Ann Nocenti is an American journalist, writer, and editor known for her work on comic books and magazines. As an editor for Marvel Comics, she edited New Mutants and The Uncanny X-Men. With artist collaborators, she created such Marvel characters as Typhoid Mary, Blackheart, Longshot, Mojo, and Spiral. Her journalistic work has been published in numerous publications, including The Nation, The Brooklyn Rail, CounterPunch, and Filmmaker. Nocenti’s story The Most Expensive Road Trip in the World was collected in The Best American Travel Writing 2008, edited by Anthony Bourdain.


The reception will begin at 7 p.m. The panel discussion will begin at 8 p.m.


Reception sponsored by BrewDog.

Boris Groys
Thursday, Sept. 28, 2017
6:30 p.m.
Canzani Center Auditorium


Boris Groys is a philosopher, an art critic, and a media theorist. He is a Global Distinguished Professor of Russian and Slavic Studies at New York University, a Senior Research Fellow at the Staatliche Hochschule für Gestaltung Karlsruhe, and a professor of philosophy at The European Graduate School. He has been a professor of Aesthetics, Art History, and Media Theory at the Karlsruhe University of Arts and Design/Center for Art and Media in Karlsruhe and an internationally acclaimed Professor at a number of universities in the United States and Europe, including the University of Pennsylvania, the University of Southern California, and the Courtauld Institute of Art London. Groys has written more than 150 articles on modern and contemporary art, philosophy, and intellectual history in several languages. Some of his books include Total Art of Stalinism (1992), The Art of Installation (1996), Art Power (2008), The Communist Postscript (2010), and Introduction to Antiphilosophy (2012).


Groys’ work, in all its varied forms, appears to follow a sustained thesis: art is a symptom of society. While the majority of his work is within aesthetics, his thesis is not exclusive to aesthetics. Rather, Groys tends to think about politics and philosophy with and through the medium of art.


Groys will talk at 6:30 p.m. Thursday, Sept. 28, at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave.). The event is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.

Sudarshan Shetty
Monday, Sept. 25, 2017
7 p.m.
Pizzuti Collection
632 N. Park St.


Due to a power outage downtown, tonight’s talk with Sudarshan Shetty will be moved to the Pizzuti Collection at 632 N. Park St.  It will start at 7 p.m. (instead of 6:30). Pay parking is available in the parking garage on Russell Street, but entrance to the Pizzuti Collection is free.


In conjunction with the exhibition Visions from India, Pizzuti Collection welcomes Sudarshan Shetty for an artist talk at CCAD’s Canzani Center Auditorium. The event is part of a collaboration with Beeler Gallery at Columbus College of Art & Design.


Born in 1961 in Mangalore, India, Sudarshan Shetty makes monumental and charming work that pairs the macabre with the delightful. His work is full of binaries in concept and material, which upend expectations and encourage viewers to both step close and back away. Visions from India features seven works ranging from kinetic sculpture to installation, video and painting, making Shetty’s oeuvre a highlight within the exhibition.


Sudarshan Shetty completed his BFA in painting from the Sir J.J. School of Art, Mumbai in 1985 and has since exhibited in India and internationally. His recent shows include Mimic Momento, Galerie Daniel Templon, Brussels, 2015; Constructs Constructions, curated by Roobina Karode, Kiran Nadar Museum of Art, New Delhi, 2015; A Passage, Staatliche Museum, Schwerin, Germany, 2015; every broken moment, piece by piece, GALLERYSKE, New Delhi, 2014; The pieces earth took away, Galerie Krinzinger, Vienna, 2012; Critical Mass, Tel Aviv Museum of Art, Tel Aviv, 2012; Indian Highway, Ullens Center for Contemporary Art, Beijing, 2012; The Matters Within: New Contemporary Art of India, curated by Betti-Sue Hertz, Yerba Buena Center for the Arts, San Francisco, 2011; Paris-Delhi-Bombay, Centre Pompidou, Paris, 2011; Sympathy for the Devil, curated by Walter Vanhaerents and Pierre-Olivier Rollin, Vanhaerents Art Collection, Brussels, 2011; India Inclusive, World Economic Forum, Davos, 2011; Contemplating the Void, curated by Nancy Spector, Solomon R. Guggenheim Museum, New York, 2010; Vancouver Biennale, 2009, and several others. He was the artistic director and curator of the third edition of Kochi-Muziris Biennale (2016).


Shetty’s work is featured in Visions from India, which is on view at the Pizzuti Collection now through Oct. 28, 2017.


See more about the exhibition here. See more about Shetty here.

Kim Faler

Kim Faler
Thursday, Sept. 14, 2017
6:30 p.m.
Canzani Center Screening Room


In conjunction with the exhibition Kim Faler: This Must Be the PlaceBeeler Gallery presents a talk featuring Massachusetts-based artist Kim Faler. 


Faler’s sculpture, installations, drawings, and photographs explore the functionality found within architecture and design and press our emotional understanding of these everyday objects against their perceived logic. Her material-­based works have been exhibited internationally and throughout the United States, including exhibitions at the Massachusetts Museum of Contemporary Art (Mass MoCA), Art Dubai, Sp/Arte in São Paulo, Mixed Greens in New York, and at the David Winton Bell Gallery at Brown University in Providence, Rhode Island. 


Faler has received numerous grants and residencies, including the Joan Mitchell MFA Grant, a U.S. Fulbright Scholarship (to Brazil), the Robert Rauschenberg Foundation Residency in Captiva, Florida, and the Artpace International Artist in Residence Program in San Antonio, Texas. She received her BFA from Ohio Wesleyan University and her MFA from the Cranbrook Academy of Art. She lives and works in North Adams, Massachusetts.


Faler will talk at 6:30 p.m. Thursday, Sept. 14, at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave.). The event is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.

Robert Slifkin & Bob Nickas
Thursday, Sept. 7, 2017
6:30 p.m. talk
Reception to follow

Canzani Center Auditorium


In conjunction with the opening of Alan Shields: A Different Kind of Painting and Stitch, Beeler Gallery presents a conversation between art historian Robert Slifkin and author, curator, and art critic Bob Nickas. They will be discussing the work and life of the late artist Alan Shields.


The event is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.


About the Scholars

Robert Slifkin

Robert Slifkin is an Associate Professor of Fine Arts at the Institute of Fine Arts, New York University where he teaches courses addressing various aspects of modern and contemporary art and culture. He is the author of Out of Time: Philip Guston and the Refiguration of Postwar American Art (University of California Press, 2013) which was awarded the Philips Book Prize. His essays and reviews appeared in such journals as Artforum, American Art, Art Bulletin, October, and Oxford Art Journal, and he has been the recipient of fellowships from the Henry Luce Foundation, The Clark Art Institute, The Getty Research Institute, and the Henry Moore Foundation. He is currently working on a new book project entitled The New Monuments and the End of Man: American Sculpture Between War and Peace, 1945-1975, which will consider the intertwined histories of sculpture and nuclear war in postwar U.S. culture.


Bob Nickas

Bob Nickas is a New York-based critic and curator. He has organized more than 80 exhibitions, including service on the teams responsible for Aperto at the Venice Biennale in 1993 and the 2003 Lyon Biennial. The author of numerous reviews and catalog essays, Nickas is a regular contributor to Artforum and Vice.

Dana Lynn Harper
Friday, April 28, 2017
6 p.m.
Canzani Center Screening Room


Dana Lynn Harper earned a BFA in Art & Technology in 2009 from The Ohio State University, where she received an Undergraduate Research Grant. She received The Bunton Waller Fellowship from Penn State University, earning her MFA in sculpture in 2013. Harper has been an Artist in Residence at Bunker Projects and Second Sight Studio and was awarded an ArtPrize Artist Seed Grant and The ArtFile Emerging Artist Grant in 2014. In 2015, Harper received a Ringholz Foundation Award, a GCAC Supply Grant, as well as an OAC Professional Award. Harper has had solo exhibitions at Otterbein University, University of Kentucky, Kent State University, and Front/Space Gallery in Kansas City. Harper has shown at ROY G BIV Gallery and was awarded a “Blank Spaces” Mural located in the Short North. She received a NEA fellowship to attend Women’s Studio Workshop in March 2016 and was granted a residency at Teton Art Lab in October 2016. In 2017, Harper was Artist in Residence at The Marlin and Regina Miller Gallery at Kutztown University.


Harper will talk at 6 p.m. Friday, April 28, at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave.). The event, co-hosted by CCAD’s MFA program, is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.

Eleanor Wilner

Thursday, April 13, 2017

6 p.m.

Canzani Center Screening Room


Eleanor Wilner has published seven books of poetry, most recently, Tourist in Hell (University of Chicago) and The Girl with Bees in Her Hair (Copper Canyon Press). Her awards include Fellowships from the MacArthur Foundation, the National Endowment for the Arts, and the Pennsylvania Council on the Arts; the Juniper Prize; and Pushcart prizes. A former editor of The American Poetry Review, her work appears in many anthologies, including most recently The Best American Poetry 2014 and 2016 (Scribners). She holds an interdepartmental Ph.D. from Johns Hopkins, and currently teaches for the MFA Program for Writers at Warren Wilson College.


Wilner will talk about her work at 6 p.m. Thursday, April 13, at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave.). The event is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.

Priority Designs: The Power of Integration

Wednesday, April 12, 2017

6 p.m.

Canzani Center Screening Room


Priority Designs is a full-service product develop.m.ent consultancy rooted in Columbus, Ohio. They will present a panel on the power of integration. Speakers include:


Sherry Jones, Sr. Industrial Designer

When Sherry Jones joined the Priority Designs team, there were only three others. More than 20 years and 50 people and a few dogs later, she’s still a key member of the design team. Excelling in concept sketching, she has heavily contributed to design in the sports industry, especially golf.


Mark Mnich, Director Business Develop.m.ent/ Sr. Designer

Mark Mnich has a number of different responsibilities at Priority Designs: designer, project manager, CAD operator, and business develop.m.ent guy, along with a host of other things. He enjoys solving problems and learning, and thankfully, he has plenty of opportunities for both.

James Lua, Sr. Industrial Designer

James Lua has unique empathy for each client’s respective end-users and is motivated to develop appropriate solutions for their unique challenges. He loves every phase of the design process, and thrives on problem solving, storytelling, and conceptual develop.m.ent.


Mike Lorenz, Sr. Industrial Designer

A designer that is gifted with great breadth and depth, Mike Lorenz is a quick ideator, gifted communicator, and sketch guru. His visualization skills are unmatched and can tackle any project thrown his way, from simple plastic part design, to complex medical equip.m.ent, to architectural rendering.
The panel discussion will begin at 6 p.m. Wednesday, April 12, at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave.). The event is free and open to the public. It is part of a special program within the Beeler Gallery Visiting Artists & Scholars Series called Creative Economy in the Capital City: A Design & Branding Series. The program will highlight Columbus’ rich history of design, branding, and innovation and will be on most Wednesdays at 6 p.m. in March and April.

Taylor Downes: Design Matters

Wednesday, April 5, 2017

6 p.m.

Canzani Center Screening Room


Taylor Downes received formal training at Columbus College of Art & Design and obtained her BFA in Industrial Design. She joined Evo in 2007 and worked in the Connecticut studio for four years. After a number of years at Design Central and FITCH in Columbus, Downes rejoined the team at Evo in 2014 as Vice President to launch the Ohio office where she is responsible for leading all business develop.m.ent and managing major accounts. Downes’ specialty is managing research and design and working with engineering to ensure innovation happens.


Downes will talk about why design matters at 6 p.m. Wednesday, April 5, at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave.). The event is free and open to the public. It is part of a special program within the Beeler Gallery Visiting Artists & Scholars Series called Creative Economy in the Capital City: A Design & Branding Series. The program will highlight Columbus’ rich history of design, branding, and innovation and will be on most Wednesdays at 6 p.m. in March and April.


Hannah Brancato

Monday, April 3

6 p.m.

Canzani Center Auditorium



Hannah Brancato is co-founder and co-director of FORCE: Upsetting Rape Culture, a collective that creates art actions to upset the culture of rape and promote a culture of consent. Founded in 2010, FORCE is nationally known for producing large-scale public art projects and campaigns that capture the public imagination. Their work creates a more difficult and honest conversation to face the realities of sexual violence, and to envision a world where sex is empowering and pleasurable rather than coercive and violent.


FORCE’s largest project to date is the Monument Quilt, a crowd-sourced collection of stories from survivors will blanket the National Mall in 2018. In a defiant stance against the silence, isolation, and stigma of rape, the piece will spell ‘Not Alone’ out of 6,000 quilt squares collected from survivors nationally.


As written by Afterimage, “FORCE uses the internet as an extension of the public space…as a communication broadcast tool in opposition to mainstream media, and as a forum for suggesting alternative, positive visions of sex, gender, and consent in culture.” FORCE’s work has been covered by dozens of news outlets, including The New York Times, Fast Company, CNN, MSNBC, and NPR. They have won several awards and grants include the 2016 Sondheim Artscape Prize and the Art Matters Grant. Brancato was awarded the 2015 Open Society Institute-Baltimore Fellowship for launching a new FORCE project, Gather Together, a Baltimore-based collective of survivors of sexual and domestic violence engaging in advocacy by meeting regularly, and telling their stories publicly.


Brancato also teaches at Maryland Institute College of Art where her focus is on creating engaging experiences where undergraduate and graduate students learn about the role of art and visual culture in shaping culture. Brancato earned her MFA in Community Art from MICA in 2011.


Brancato will talk at 6 p.m. Monday, April 3 (rescheduled from Monday, March 13, due to inclement weather) at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave.). The event, co-hosted by CCAD’s MFA program, is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.

Tanisha Robinson: So Your Brand Walks into a Party

Wednesday, March 29, 2017

6 p.m.

Canzani Center Screening Room


After serving as an Arabic Linguist in the U.S. Army, Tanisha Robinson studied Arabic and Political Theory at The Ohio State University. Upon receiving a fellowship, she moved to Damascus, Syria, and worked in women’s and human rights throughout the Middle East for almost two years.


Upon her return to Columbus, she built and sold an affiliate marketing portfolio, and went on to become the founder of, a daily deal site focused on locally owned, independent restaurants that was later purchased by 614 Media Group.


Robinson is currently the co-founder of Print Syndicate, a design/technology/marketing company with an ecommerce platform devoted to providing well-designed, socially relevant, high quality products to consumers, on-demand.


Robinson will talk at 6 p.m. Wednesday, March 29, at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave.). The event is free and open to the public. It is part of a special program within the Beeler Gallery Visiting Artists & Scholars Series called Creative Economy in the Capital City: A Design & Branding Series. The program will highlight Columbus’ rich history of design, branding, and innovation and will be on most Wednesdays at 6 p.m. in March and April.

Kathy Fagan & Raena Shirali

Monday, March 27, 2017

6:30 p.m.

Canzani Center Screening Room


Kathy Fagan’s fifth book is Sycamore (Milkweed Editions, 2017). Her first collection, The Raft, won the National Poetry Series; her second, MOVING & ST RAGE, the Vassar Miller Poetry Prize. She has received fellowships from the NEA and Ohio Arts Council. Very recent work appears in The New Republic and Blackbird. Director of the Creative Writing Program at Ohio State, Fagan serves as Series Editor of the OSU Press/The Journal Wheeler Poetry Prize.


Raena Shirali is the author of GILT (YesYes Books, 2017). Her honors include a 2016 Pushcart Prize, the 2016 Cosmonauts Avenue Poetry Prize, the 2014 Gulf Coast Poetry Prize, & a “Discovery” / Boston Review Poetry Prize in 2013. Her poems & reviews have appeared in Blackbird, Ninth Letter, Crazyhorse, Indiana Review, Pleiades, Four Way Review, & elsewhere. She currently lives in Lewisburg, Pennsylvania, where she is the Spring 2017 Philip Roth Resident at Bucknell University’s Stadler Center for Poetry, & serves as a poetry reader for Muzzle Magazine.


Fagan and Shirali will read poetry at 6:30 p.m. Monday, March 27, at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave.). The event is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.

Amanda Hunt

Thursday, March 9, 2017

6 p.m.

Canzani Center Screening Room


Amanda Hunt is Associate Curator at The Studio Museum in Harlem. Her exhibitions there have included Black Cowboy; Tenses: Artists in Residence 2015-16; Rashaad Newsome: THIS IS WHAT I WANT TO SEE; Lorraine O’Grady: Art Is…; In Profile: Portraits from the Permanent Collection; and the group exhibition A Constellation. Hunt is the curator of inHarlem: Kevin Beasley, Simone Leigh, Kori Newkirk, Rudy Shepherd, a multi-site public art initiative in four Historic Harlem Parks, on view through July 25, 2017. Hunt curated Portland2014: A Biennial of Contemporary Art, presented by Disjecta Contemporary Art Center in Oregon, and was a curator at the non-profit art space LA><ART from 2011 to 2014. Hunt helped to produce two major initiatives in Los Angeles, including the Pacific Standard Time Performance and Public Art Festival, co-produced by LA><ART and the Getty Research Institute, and Made in LA 2012, the first Los Angeles biennial organized by the Hammer Museum in collaboration with LA><ART.


Hunt also served as Curatorial Assistant for the Los Angeles City Pavilion for the 9th Shanghai Biennale in 2012. She has worked at various galleries and institutions including Whitechapel Gallery, London; Friedrich Petzel Gallery, New York; the Wattis Institute for Contemporary Arts, San Francisco; and the Philadelphia Museum of Art. Hunt holds her MA in Curatorial Practice from California College of the Arts in San Francisco.  


Hunt will talk at 6 p.m. Thursday, March 9, at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave.). The event is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.

Liz Sanders: From Designing to Co-Designing to Collective Dreaming

Wednesday, March 8, 2017

6 p.m.

Canzani Center Screening Room


Liz Sanders is a well-known visionary in co-design research, having introduced many of the tools and methods being used today to drive and inspire design from a human-centered perspective. Sanders has practiced co-designing across all the design disciplines. Her current focus is on bringing participatory, human-centered design thinking and co-creation practices to the challenges we face for the future. She is also the co-author of Convivial Toolbox, a how-to guide for anyone interested in learning how to do co- design research.


Sanders will talk about the move from design to co-design to collective dreaming at 6 p.m. Wednesday, March 8, at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave.). The event is free and open to the public. It is part of a special program within the Beeler Gallery Visiting Artists & Scholars Series called Creative Economy in the Capital City: A Design & Branding Series. The program will highlight Columbus’ rich history of design, branding, and innovation and will be on most Wednesdays at 6 p.m. in March and April.

Roger Beebe

Thursday, March 2, 2017

6:30 p.m.

Canzani Center Auditorium


Filmmaker/curator/professor Roger Beebe has screened his films around the globe at such unlikely venues as the CBS Jumbotron in Times Square and McMurdo Station in Antarctica as well as more likely ones including Sundance and the Museum of Modern Art with solo shows at Anthology Film Archives, The Laboratorio Arte Alameda in Mexico City, and Los Angeles Filmforum among many other venues. Beebe is also a film programmer: he ran Flicker, a festival of small-gauge film in Chapel Hill, NC, from 1997 to 2000 and was the founder and Artistic Director of FLEX, the Florida Experimental Film Festival from 2004 to 2014. He is currently an Associate Professor in the Department of Art at the Ohio State University.


On Thursday, March 2, Beebe will come to Beeler Gallery to premiere a new program of his multiple-projector performances focused on sound and music. The program features several of his best-known projector performances (including the six-projector show-stopping space jam Last Light of a Dying Star) as well as his latest forays into multi-projector mayhem, SOUNDFILM and SOUNDFILM Coda. These works take on a range of topics from companies jockeying to be at the start of the phone book (AAAAA Motion Picture) to the secret logic of the book of Genesis (Beginnings).


The event is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.

Gil Cloyd: Bringing Design to Innovation at Procter & Gamble

Wednesday, March 1, 2017

6 p.m.

Canzani Center Screening Room


Gil Cloyd, retired Chief Technology Officer of Procter & Gamble, was born in East Cleveland, Ohio, and attended the Ohio State University. He began consulting with Procter & Gamble in 1972 and joined the company full-time in 1974. He assumed the position of Chief Technology Officer in 2000 and had overall functional responsibility for P&G’s global Research & Develop.m.ent organization, which numbered 9,000 employees in 28 technical centers around the globe. He retired from this position in September 2008. During his tenure as CTO, P&G had annual organic sales growth of 5 to 7%, and R&D innovation productivity increased 100%. Cloyd was named Industry Week’s Tech Leader of the Year in 2004.


Cloyd lives in Austin, Texas, and is a co-founder and CEO of the Ohio Film Group, a post-production film service company, and Lengi Studios, an original content animation film company, in Columbus.


Cloyd will talk about bringing design to innovation at Procter & Gamble at 6 p.m. Wednesday, March 1, at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave.). The event is free and open to the public. It is part of a special program within the Beeler Gallery Visiting Artists & Scholars Series called Creative Economy in the Capital City: A Design & Branding Series. The program will highlight Columbus’ rich history of design, branding, and innovation and will be on most Wednesdays at 6 p.m. in March and April.


Ryan Mrozowski

Friday, Feb. 24, 2017

6 p.m.

Canzani Center Screening Room


Ryan Mrozowski (b. in Pennsylvania, 1981) constructs paintings by means of duplicating, repeating, and inverting the most commonplace of imagery (oranges, polka dots, birds, flowers, grass) in endless variations. Mrozowski observes his subject matter with a playful and satirical distance, isolating the elements of landscape, still life, or narrative situations. In doing so, he negates both the original intent and artificial creation of desire at the core of most constructed picture planes we encounter on a daily basis.


Mrozowski received his MFA from the Pratt Institute in 2005, and his BFA from the Indiana University of Pennsylvania in 2003. Recent and forthcoming solo exhibitions include presentations at Hannah Hoffman, Los Angeles, CA (2017); Arcade Gallery, London (2016); On Stellar Rays, New York (2015); Art in General, Vilnius, Lithuania (2014); Pierogi, Brooklyn (2012, 2010); and the Daniel Weinberg Gallery, Los Angeles (2008). His exhibitions have received numerous reviews by Artforum, Modern Painters, Artreview, New York Observer, and others. Mrozowski lives and works in New York.


Mrozowski will talk about his work at 6 p.m. Friday, Feb. 24, at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave.). The event is free and open to the public.

Laura Larson

Friday, Feb. 17, 2017

6:30 p.m.

Design Studios on Broad, 3rd floor, 390 E. Broad St.


Laura Larson‘s work investigates historical subjects and the process of remembrance, considering photography’s unique address of the subject of memory. Her work poses questions about the medium and its terms of representation: its materials, histories, and social meanings. The assumption of objectivity that continues to haunt photography — the desire to trust our eyes — is a central concern.


Larson has exhibited her work both nationally and internationally, including at Art in General, Bronx Museum of the Arts, Metropolitan Museum of Art, Museum of Fine Arts, Houston, SFCamerawork, Susanne Vielmetter/L.A. Projects, and Wexner Center for the Arts. Reviews of her exhibitions have appeared in Artforum, The New York Times, The New Yorker, and Time Out New York, and she has published artist projects in Cabinet, Documents, Open City and The Literary Review. Her first book, Hidden Mother, is forthcoming on Saint Lucy Press. She is the recipient of grants from Ohio Arts Council, New York Foundation of the Arts, and Art Matters, Inc. and of residency fellowships from MacDowell Colony,  Santa Fe Art Institute, and Ucross Foundation. Larson’s work is represented by Lennon, Weinberg Gallery in New York City.


Larson will talk about her work at 6:30 p.m. Friday, Feb. 17, on the third floor of the Design Studios on Broad at Columbus College of Art & Design (390 E. Broad St.). The event is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.


Hanoch Piven

Thursday, Feb. 9, 2017

7 p.m.

Canzani Center Auditorium


The colorful and witty collages of illustrator Hanoch Piven have appeared throughout the last 25 years on both sides of the Atlantic: in most major American magazines and newspapers such as TIME, Newsweek, Rolling Stone, and in many European publications such as Esquire UK, Welt Woche, and Der Spiegel. A nationally and internationally distinguished artist, Piven has artwork in the permanent collection of The Prints and Photographs Division of the Library of Congress in Washington, D.C.


Piven, who is also the creator of the Parents’ Choice Award-winning app Faces iMake, has recently spoken at Duke University about the connection between the abilities of our brain to perceive faces and our ability to adapt, evolve and be creative. (Hint: it is all connected to developing AWARENESS.)


In partnership with the Jewish Federation of Columbus, Piven will talk at 7 p.m. Thursday, Feb. 9, at the Canzani Center at Columbus College of Art & Design (60 Cleveland Ave.). The event is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.

Spencer Finch

Thursday, Dec. 8, 2016

6:30 p.m.

Canzani Center Auditorium


Multimedia artist Spencer Finch uses light and color to evoke memory, history and the passage of time, whether over the course of a day or an entire year. He employs a panoply of materials — watercolor, theater light gels on glass, candles, Scotch tape — to capture fleeting moments.


“Sensing that our observations must be tied to experience if we are to get at the truth of something, Finch is compelled continually to expand the scope of his projects, returning to the same sites at all hours to look again and again,” Charles LaBelle wrote in Frieze in May 2003.


366 (Emily Dickinsons Miraculous Year) memorializes 1862, the year in which Dickinson wrote 366 poems in 365 days. Each day of that year is represented by a candle, and the candles are arranged in a sequenced spiral. Each candle burns for 24 hours, so the installation changes constantly over the course of an entire year. The colors of the candles represent colors in the poems and, when colors are not mentioned in the poems, a natural paraffin candle stands in for that day.


A commission for the National September 11 Memorial & Museum, Trying to Remember the Color of the Sky on That September Morning, is a powerful reminder of what so many people remember from — and were gazing at — that uncommonly crisp and clear day. Different hues of blue are expressed in watercolor on hundreds of sheets of paper, blanketing a massive wall in the museum.


Other pieces by Finch have been installed at Johns Hopkins Medical Center in Maryland, the Morgan Library in New York, the Amazon campus in Seattle, and Winfield House, the U.S. ambassador’s residence in London.


Finch has an MFA in sculpture from the Rhode Island School of Design. He lives and works in Brooklyn.

Fred Wilson

Thursday, Nov. 17, 2016

6:30 p.m.

Canzani Center Auditorium


Multimedia artist Fred Wilson employs found and archival objects — he’s called it trompe l’oeil curating — to compel viewers to question the version of history dictated by cultural institutions.


For Mining the Museum, his 1992-1993 exhibition at the Maryland Historical Society in partnership with the Contemporary Museum Baltimore, Wilson was given unfettered access to the historical society’s archives and stored objects, which he then arranged in installations throughout the building.


“Using juxtaposition, redirection, irony and his own idiosyncratic brand of humor, he confronted viewers with powerful symbolic uses of historical artifacts that put them in entirely new contexts,” the historical society’s librarians wrote in a 2013 article about the exhibition.


Wilson has said that his art frequently leads him back to his own experiences growing up black in a multicultural family and a neighborhood with no other black kids. “I was the only black child in the entire school and I was shunned because I was different,” Wilson told PBS show Art 21. “My connection to the black community was tangential for those formative years.”


As a young professional, Wilson worked various jobs in New York art museums. “Working in the education department at the Met and at the Museum of Natural History, I was very aware of what wasn’t being shown to the public,” Wilson told New York Magazine in 2003. “Those were the experiences that really got me thinking.”


Wilson represented the U.S. at the 2003 Venice Biennale. His work is in the collections of the Pizzuti Collection in Columbus, the Cleveland Museum of Art, the Toledo Museum of Art, the Art Institute of Chicago, the Detroit Institute of Arts, the Tate, the Whitney Museum of American Art, the Museum of Modern Art and many others.


In 1999, he was awarded a MacArthur Foundation genius grant.

Fred Seibert

Thursday, Nov. 10, 2016

6:30 p.m.

Canzani Center Auditorium


MTV’s iconic animated logo was commissioned by Fred Seibert, who joined the fledgling network in 1980 and became its first creative director. Seibert also played a key role in the “I Want My MTV” campaign, among the most recognizable and famous of the 20th century. He’s credited with turning around Nickelodeon in the 1980s. And he was the last president of Hanna-Barbera Cartoons, where he helped launch Dexter’s Laboratory, The Powerpuff Girls, Johnny Bravo and Cow and Chicken.


Since the late 1990s, Seibert has been a major force in the world of online media. He co-founded Next New Networks, which grew into the biggest player in the online video world and was acquired by YouTube in 2011. He was an early investor in Tumblr. And he co-founded Thirty Labs, a studio that invests in video-based tech startups.

His animation-only Channel Frederator network distributes nearly 700 online channels and produces popular cartoons like Bee and PuppyCat and Fairly Oddparents and Bravest Warriors.

Paula Scher

Thursday, Nov. 3, 2016

6:30 p.m.

Canzani Center Auditorium


Graphic designer Paula Scher’s signature is written all over the world of design: She’s the artist behind The Public Theater’s logo and dozens of its promotional and playbill materials (notably for “Bring in ‘da Noise, Bring in ‘da Funk,” which launched a thousand imitators), as well as branding campaigns for Citibank and Tiffany & Co. Some of her first jobs were in book publishing and album cover art design, where she created covers for Boston, Leonard Bernstein, Cheap Trick, Bob James and Earl Klugh and Blue Oyster Cult, among others. She has also applied graphic design to architecture, adding words and numbers to buildings like Bloomberg headquarters, the Children’s Museum of Pittsburgh and the New Jersey Performing Arts Center.


Since 1991, she has been a partner at design firm Pentagram.


She is also a frequent design contributor to The New York Times, GQ and other publications. In 2006, she was named to the Public Design Commission of the City of New York.

Lisa Oppenheim

Wednesday, Oct. 26, 2016

6:30 p.m.

Canzani Center Screening Room


In conjunction with the exhibition The Sun Placed in the Abyss at the Columbus Museum of Art, Beeler Gallery presents a talk by the New York-based artist Lisa Oppenheim.


Oppenheim challenges the boundaries and definitions of photography with still and moving images that are frequently distilled through both primitive and technologically advanced means. Nature is a frequent subject, but she regularly mines the digital world for source material and then enlists technology in the creation of images.


For her series Smoke, Oppenheim found images from World War II at the Imperial War Museum in London. She made large-scale negatives of images of smoke from the battle of Normandy, then exposed the images with firelight. “The bombs blowing off obviously contained fire that you can’t see, but then the fire is reintroduced in the darkroom as the agent of exposure,” she explained for an interview with the Museum of Modern Art in 2013. “It really looks like an abstract depiction of something rather than a document of something.”


Oppenheim went on to explain her interest in “collapsing this distinction between what’s represented in the image and how they’re made. What I really want to do by doing these process-based works is point to the way in which any viewer is really constantly processing this information and these images in their own way.”


Oppenheim’s work will be featured in an upcoming group exhibition at the Columbus Museum of Art, The Sun Placed in the Abyss (Oct. 7, 2016 through Jan. 8, 2017). The 50 artists in the exhibition use the sun as a subject to explore the historical, social and technological conditions of photography, film and video. Her work will also be the subject of a solo exhibition in 2016 at the Museum of Contemporary Art, Cleveland.


Oppenheim lives and works in New York. She has a bachelor’s degree in art with a semiotics concentration from Brown University and an MFA from the Milton Avery Graduate School of the Arts at Bard College, Department of Film/Video.


Her work is in the collections of the Centre Pompidou in Paris, the J. Paul Getty Museum in Los Angeles, the Milwaukee Art Museum, the Museum of Modern Art, the Guggenheim Museum and the Shpilman Institute of Photography in Tel Aviv, Israel, among other institutions.

Chip Kidd

Thursday, Oct. 20, 2016

6:30 p.m.

Canzani Center Auditorium


Graphic designer and writer Chip Kidd is a veteran book-cover designer for Penguin Random House. His work has appeared on the covers of books by hundreds of writers, including Michael Crichton, John Updike, Cormac McCarthy, David Sedaris, Neil Gaiman, Haruki Murakami and many others. He’s also a writer in his own right; his debut novel The Cheese Monkeys was a national bestseller. His most recent book, Go: A Kidd’s Guide to Graphic Design, teaches graphic design to children. Kidd is also an editor and art director for Pantheon Graphic novels, where he has worked with Chris Ware, Art Spiegelman, Dan Clowes, David Mazzucchelli, Charles Burns, Michael Cho and Alex Ross.


“It all sort of started as a benign mistake, like penicillin,” he told a TED audience in March 2012. When he arrived in New York in 1986 to start working as a graphic designer, he was offered just one job: as an assistant to the art director at Alfred A. Knopf. He has been with the publisher ever since.


“The book designer’s responsibility is threefold: to the reader, to the publisher and most of all, to the author,” Kidd says. “I want you to look at the author’s book and say, ‘Wow. I need to read that.’”


Kidd’s TED talks, “Designing Books Is No Laughing Matter. OK, It Is.,” and “The Art of First Impressions — In Design and Life” have been viewed more than 1.5 million times.


Kidd received the Cooper-Hewitt’s National Design Award for Communication in 2007, the International Center of Photography’s Infinity Award for Design in 1997 and the AIGA Medal in 2014.

Charles Burns

Saturday, Oct. 15, 2016

7 p.m.

Canzani Center Auditorium


Charles Burns is one of the great comic artists, renowned for teen angst-and-alienation classic Black Hole, the trilogy comprising X’ed Out, The Hive and Sugar Skull, and Big Baby. He’s also an avid and active illustrator, lending his art to Dave Eggers’ literary magazine The Believer, the cover for Iggy Pop’s latest album, Brick By Brick, as well as The New Yorker, Esquire and Time. He wrote and directed the film Fear(s) Of the Dark and co-wrote horror short Black Hole. He also works in commercial illustration, creating the visuals for Coca-Cola’s OK Soda and Altoids.


Some of his earliest work was published in RAW, the avant-garde comics magazine founded by Art Spiegelman and Francoise Mouly, and the Sub Pop fanzine.


Burns’ work is typically characterized as horror, but it’s horror with a wicked sense of humor and a thick layer of angst, disillusionment and irony.


“The work of Charles Burns is a vision that’s both horrifying and hilariously funny, and which he executes with cold, ruthless clarity,” says R. Crumb. “It’s almost as if the artist … as if he weren’t quite … human!”


He appears at the Beeler Gallery in conjunction with the second annual Cartoon Crossroads Columbus festival, a four-day festival featuring more than 130 cartoonists at arts venues throughout the city.


Immediately following the talk, Burns will join graphic novelist Nate Powell for a reception and book signing. Powell’s recent New York Times’ bestseller March: Book Three concluded his graphic novel trilogy that documents the Civil Rights Movement through the eyes of Congressman John Lewis, who co-wrote the books with Andrew Aydin. March: Book Three was recently nominated for a National Book Award, and Powell’s original art from the book will adorn the walls of CCAD’s Acock Gallery in this rare chance to have works signed by two generations of influential illustrators.

Roxy Paine

Thursday, Oct. 13, 2016

6:30 p.m.

Canzani Center Auditorium 


Roxy Paine was born in New York in 1966. He studied at the College of Santa Fe in New Mexico and at the Pratt Institute in New York.


By the 1990s, Paine’s work had been exhibited in several iconic group shows, such as Fever at Exit Art, Desire and Deception at Brand Name Damages, and Human/Nature at the New Museum of Contemporary Art. In 1991, he had his first solo exhibition at the Knitting Factory in New York City. At this time, a rigorous language emerged in the artist’s interest in transformation and translation. His work is a trajectory of several overlapping wavelengths: machines, fields, fungus and weeds, specimen cases, dendroids, and, most recently, dioramas. The vocabulary of fungi, plants, and industrial machines became vehicles for the artist’s reflections on mechanized production and the human impulse to impose order and control over creative and natural forces. For example, in Drug Ziggurat (1993), Paine demonstrates an industrious approach to addressing systems and categories: mind-altering substances stack in a hierarchical order of potency, from a base of alcoholic and caffeinated beverages to a spire of hypodermic needles and opiates. His work developed into a unique series of fields, specimen cases, machines and dendroids. In 2009, at the Metropolitan Museum of Art, Paine exhibited the monumental Maelstrom, a large-scale, stainless steel sculpture of a storm in swirling turmoil.


More recently, Paine has embarked on a new discourse with a series of dioramas. These room-sized sculptures propose universal “habitats,” void of human figures. The dioramas depict contemporary sites as metaphors into modern-day conditions: a fast-food counter, a control room, a sport stadium, a security line. In Checkpoint (2014), a bustling airport security stop becomes a fixed point of quiet meditation, a locale whose practical banality rests uneasily alongside the looming suggestion of larger social anxieties.


Paine’s works are included in major collections such as the Hirshhorn Museum in Washington, D.C., the Israel Museum in Jerusalem, the Museum of Modern Art in New York, The Museum of Contemporary Art in Los Angeles (MOCA), the San Francisco Museum of Modern Art, and the Whitney Museum of American Art in New York.

David Horvitz

Tuesday, Oct. 11, 2016

6:30 p.m.

Canzani Center Screening Room


In conjunction with the exhibition The Sun Placed in the Abyss at the Columbus Museum of Art, Beeler Gallery presents a talk by David Horvitz.


Horvitz’s work straddles the virtual and real worlds and invites us to meditate on the often absurd relationship between the two. He’s a photographer, a performance artist, a provocateur.


Horvitz is best known for the 241543903 meme and for his Public Access project, which had him posting photographs of public beaches along the California coast to Wikipedia and observing the online reaction. As suspicion and action among online watchers rose, Horvitz printed images before they were deleted, bound them in books and placed them in the history sections of public libraries along the coast.


During the 2016 Frieze Art Fair in New York, he hired a pickpocket to slip sculptures into the pockets of people attending the show. “Imagine how much money is concentrated there, among collectors and galleries — and then there’s this person walking around who’s basically a trained thief,” he told The Wall Street Journal.


Horvitz is an artist in residence at Pioneer Works in Brooklyn. His work has been exhibited at the Museum of Modern Art, the New Museum, SF Camerawork, the Museum of Contemporary Art, Los Angeles and Tate Modern. He has an undergraduate degree from the University of California, Riverside, and an MFA from Bard College.

Katy Grannan

Tuesday, Oct. 4, 2016

6:30 p.m.

Canzani Center Screening Room


Photographer Katy Grannan will introduce a sneak preview of her first feature-length film, The Nine, named for a street in Modesto, California, “a no-man’s land where the rules of polite society do not apply,” says the synopsis for the film. “The people living along the Nine form a ravaged micro-community whose Darwinian existence is a day-to-day hustle, and survival is by any means necessary.”


The Nine had its world premiere in May at the Visions du Reel International Film Festival in Nyon, Switzerland, and has since been screened in London at the National Portrait Gallery and at the Krakow Film Festival in Krakow, Poland.


The film follows the trajectory of Grannan’s previous work (99, Boulevard) depicting an unseen (and in many ways unwanted) America through intimate portraits of strangers she finds in California, particularly in economically ravaged parts of the Central Valley that were photographed by Dorothea Lange during the Great Depression. Prior to moving to California in 2006, Grannan lived in the northeast, where she produced photography series named after local newspapers or landmarks. “Grannan’s process and the consequent images are informed by her own childhood in the American northeast. Each photograph is imbued with secrecy, desire and hidden intention.”


Grannan’s work last appeared in exhibition at CCAD in Sitter, a group exhibition of portrait photography by 27 artists, in early 2015.


Grannan lives and works in Berkeley. Her work has been collected by the Museum of Modern Art, the Guggenheim Museum, the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art and the Whitney Museum of American Art, among others.

Masande Ntshanga

Thursday, Sept. 22, 2016

6:30 p.m.

Canzani Center Auditorium


Masande Ntshanga’s debut novel The Reactive was met with critical acclaim and awards after its initial publication in 2014. The U.S. edition was recently released by Columbus independent press Two Dollar Radio.


The novel, set in Cape Town, South Africa, follows Lindanathi, wracked with guilt after the sudden death of his brother, and his friends as they sell anti-retroviral drugs to HIV-positive people and drift in and out of a seedy party scene. “Woozy, touching … a novel that delivers an unexpected love letter to Cape Town, painting it as a place of frustrated glory. ‘The Reactive’ often teems with a beauty that seems to carry on in front of its glue-huffing wasters despite themselves,” writes Marian Ryan of Slate.


Ntshanga’s work has also appeared in The White Review, Chimurenga and VICE. He has also written for Rolling Stone.


Ntshanga won the 2013 PEN International New Voices Award and was a finalist for the 2015 Caine Prize for African Writing.


He has undergraduate degrees in film and media and English, and he has a master’s degree in creative writing, all from the University of Cape Town. He was the recipient of a Fulbright Award.


Ntshanga was born in 1986 in East London and grew up in South Africa. He lives in Johannesburg.

Jason Adams

#Accelerate Academia: Higher Education as Machinic Assemblage

Friday, Sept. 9, 2016

4:30 p.m.

Canzani Center Multipurpose Room

Jason Adams is Co-Director of The New Centre for Research & Practice and an Instructor at Kendall College of Art & Design in Grand Rapids, Michigan. He is the author of Occupy Time: Technoculture, Immediacy, & Resistance, co-editor of Deleuze & Race, and is preparing the final manuscript for his new book, Virtual Virilio: Speed, Politics, Potentiality. Adams has spoken about political theory, technoculture, media theory, and political culture at universities, research institutions, and art galleries in Athens, Belfast, Bogota, Erlangen, Graz, Honolulu, Istanbul, London, Melbourne, New York, Prague, and Vancouver. He lived in Seattle in 1999-2000 and was interviewed by the University of Washington’s WTO History Project as one of the core organizers of the World Trade Organization protests.
Adams will talk at 4:30 p.m. Friday, Sept. 9, at the Canzani Center Multipurpose Room at Columbus College of Art & Design (60 Cleveland Ave.). The event is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.

Jessica Jackson Hutchins
Friday, Sept. 9, 2016
6:30 p.m.
Canzani Center Screening Room


The Oregon-based artist Jessica Jackson Hutchins transforms everyday household objects — from furniture to clothing — and infuses them with human emotion and rawness.


In an exhibition currently on view at Beeler Gallery, her works are composed of everything from paint and fabric to pumice and photographs.


In 2013, Hutchins was included in the 55th International Art Exhibition at the Venice Biennale. Past group exhibitions include the 11th Lyon Biennale: A Terrible Beauty is Born (2011); The Whitney Biennial, Whitney Museum of American Art, New York (2010); Kurt, The Seattle Art Museum, Seattle, Washington (2010); Dirt on Delight, Institute of Contemporary Art, Philadelphia, and the Walker Art Centre, Minneapolis, Minnesota (2009); An Expanded Field of Possibilities, Santa Barbara Contemporary Arts Forum, Santa Barbara, California (2009).


She has previously had solo exhibitions at White Columns, New York; the Institute of Contemporary Art/Boston; and the Atlanta Contemporary Art Center.


She will talk at 6:30 p.m. Friday, Sept. 9, at the Canzani Center Screening Room at Columbus College of Art & Design (60 Cleveland Ave.). The event is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.


Jessica Jackson Hutchins: Cool Wake is on view at Beeler Gallery through Sept. 10, 2016. Read more about the exhibition here.

Aaron Fowler
Thursday, Sept. 1, 2016
6:30 p.m.
Canzani Center Screening Room


In one of the most impactful pieces on view in Aaron Fowler: Tough Love at Beeler Gallery, St. Louis native Aaron Fowler has composed a striking dual portrait of Ferguson, Missouri, shooting victim Michael Brown and his mother.


The work, titled He Was, is an altar-like, room-sized installation that uses paint, hair extensions, rope, found plywood and the eulogy that Brown’s mother, Lezley McSpadden, wrote for her son.


Fowler received his BFA from the Pennsylvania Academy of Fine Arts in 2011 and his MFA from Yale University School of Art in 2014. He is a recipient of the Rema Hort Mann 2015 Emerging Artist Grant (New York) and was an artist-in-residence at the Skowhegan School of Painting & Sculpture in 2014.


Fowler will talk at 6:30 p.m. Thursday, Sept. 1, at the Canzani Center Screening Room at Columbus College of Art & Design (60 Cleveland Ave.). The event is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.


Aaron Fowler: Tough Love is on view at Beeler Gallery through Sept. 10, 2016. Read more about the exhibition here.

Lucy Raven
Wednesday, Aug. 31, 2016
6:30 p.m.
Canzani Center Screening Room


In conjunction with the exhibition Lucy Raven: Low Relief at the Columbus Museum of Art, Beeler Gallery presents a lecture by the New York-based artist Lucy Raven.


Raven’s practice encompasses a wide variety of forms, including animated films, interventions into live television, installations and performative lectures. They all bear witness to the artist’s exploration of the effects of technology on the world, and the connections between labor and image production.


Raven’s work has been exhibited in solo and group shows at the Museum of Modern Art (New York, 2010); the Hammer Museum (Los Angeles, 2012); mumok (Vienna, 2013); the Yerba Buena Center for the Arts (San Francisco, 2014); Portikus (Frankfurt, Germany, 2014); and Tate Modern (London, 2016).


Raven will talk at 6:30 p.m. Wednesday, Aug. 31, at the Canzani Center Screening Room at Columbus College of Art & Design (60 Cleveland Ave.). The event is part of the Beeler Gallery Visiting Artists & Scholars Series and is free and open to the public.


Lucy Raven: Low Relief is on view at the Columbus Museum of Art through Nov. 27, 2016. Read more about the exhibition here.

Robert Buck
Wednesday, May 11
6:30 p.m.
Canzani Center Screening Room


The artist Robert Buck’s drawings, sculptures and video installations reflect his sensitive investigations into how people respond to today’s diverse social and cultural changes.


Buck — who previously went by the name Robert Beck — has a career retrospective opening Wednesday, May 11, at the Pizzuti Collection.


In conjunction with that opening, Buck will talk about his work at 6:30 p.m. Wednesday, May 11, at the Canzani Center Screening Room at Columbus College of Art & Design as part of the Visiting Artists & Scholars series at Beeler Gallery.

Sherman Alexie
Tuesday, April 26
6:30 p.m.

Canzani Center Auditorium


Sherman Joseph Alexie is an American poet, writer and filmmaker. Much of his writing draws on his experiences as a Native American with ancestry of several tribes, growing up on the Spokane Indian Reservation. He lives in Seattle.


Some of his best-known works are The Lone Ranger and Tonto Fistfight in Heaven (1993), a book of short stories, and Smoke Signals (1998), a film based on that collection, for which he also wrote the screenplay. His first novel, Reservation Blues, received one of the 15 1996 American Book Awards. His first young adult novel, The Absolutely True Diary of a Part-Time Indian (2007), is a semi-autobiographical novel that won the 2007 U.S. National Book Award for Young People’s Literature and the Odyssey Award for best 2008 audiobook for young people (read by Sherman). His 2009 collection of short stories and poems, War Dances, won the 2010 PEN/Faulkner Award for Fiction. Sherman is the guest editor of the 2015 Best American Poetry.

Tuesday, April 12

6-8 p.m.

CCAD Canzani Center Screening Room

Melvin Edwards and Lydie Diakhaté in conversation, with a special premiere screening of Some Bright Morning: The Art of Melvin Edwards


In conjunction with the exhibition Melvin Edwards: Five Decades, currently at the Columbus Museum of Art, Beeler Gallery presents an evening conversation with Melvin Edwards and filmmaker Lydie Diakhaté. The event features a special premiere screening of Diakhaté’s documentary film Some Bright Morning: The Art of Melvin Edwards which tells the global story of this renowned artist.


Born in the segregated South in the 1930s, Edwards has created innovative, abstract welded-steel sculptures since the early 1960s. His work often incorporates found objects, and has frequently addressed social issues and racial violence. Following the artist from his New York gallery to both Ghana and Senegal, Some Bright Morning places Edwards’ life and work in an international context. The film explores his particularly strong connections with Africa, as well as how pan-Africanism and black internationalism inform his work. In extensive interviews, the artist discusses the cultural and political values that have enabled him to establish his own artistic language over the past five decades.


The exhibition Melvin Edwards: Five Decades is organized by the Nasher Sculpture Center, Dallas. The exhibition is presented by the Henry Luce Foundation. Additional major support is provided by the National Endowment for the Arts. In addition to CMA’s major sponsors, the presentation at the Columbus Museum of Art is supported by the Friends of Melvin Edwards: Five Decades.


The event is free and open to the public.

Jesper Just
Thursday, March 31
5:30 p.m. film screening
6:30 p.m. artist talk
Canzani Center Screening Room


Jesper Just has become internationally renowned for works which explore the ambiguous territory of gender, desire, relationships and identity. Early films explored and circumvented the complicated representations of masculinity in Hollywood cinema and throughout popular culture.


In the brochure text for his solo project at the Hammer Museum in Los Angeles in 2006, Hannah Barry described Just’s lush, cinematic productions: “For each film Just assembles a grand production, engaging trained actors and singers, sound and lighting engineers, and camera operators…He employs mechanisms more commonly associated with lavish ‘motion picture’ productions for cinema: notably his trompe l’oeil cinematographic vision…”


Just’s work has been the subject of solo exhibitions at such diverse and international institutions as the Museum of Contemporary Art, Detroit; the Miami Art Museum, Miami; the Brooklyn Museum. Just represented Denmark at the 55th International Art Exhibition, La Biennale di Venezia, Venice, Italy (2013).

Jordan Kantor
Friday, March 18
5:30 p.m.

Canzani Center Screening Room


Jordan Kantor is a San Francisco-based artist, whose work has been shown in numerous exhibitions, including at Churner and Churner, New York; The Williams College Museum of Art, Williamstown; Ratio 3, San Francisco; The San Francisco Museum of Modern Art; The Henry Art Gallery, Seattle; The Seattle Art Museum; Art Statements, Basel; Johnen Galerie, Berlin; Thomas Dane Gallery, London; and Artists Space, New York.  In addition to his studio practice, Kantor writes and lectures on contemporary art subjects and is currently Professor of Graduate Fine Arts and Painting at California College of the Arts.

J.J. Sedelmaier
Thursday, March 17
6:30 p.m. 

Canzani Center Auditorium


J.J. Sedelmaier/J.J. Sedelmaier Productions, Inc. ( is responsible for many of the most talked about broadcast productions of the past two decades – the launch season of MTV’s Beavis and Butt-Head, SNL’s Saturday TV Funhouse, Cartoon Network/Adult Swim’s Harvey Birdman, Attorney at Law, animation for The Colbert Report, and more than 675 TV commercials, animation and design pieces. His creative develop.m.ent and production studio assists with corporate branding for companies like The Chicago Tribune, Nickelodeon, SC Johnson, Alka-Seltzer/Bayer and Converse/USA. Sedelmaier’s design expertise, technological experience and extensive knowledge of history make him a unique creative source for sculpting any project.


Sedelmaier is a popular speaker at major industry events, corporations, schools, agencies and television programs such as CBS’s Sunday Morning. He is also a contributor to Print Magazine’s blog Imprint.

Sue de Beer
Thursday, March 10
5:30 p.m. screening
6:30 p.m. artist talk

Canzani Center Screening Room


For nearly 20 years, Sue de Beer has been searching for what she calls an “inhumanly beautiful moment,” a constantly surprising and staunchly punk mission, exactly because it seems to stand at odds with what is deemed “countercultural.” This is not to say that she does not take on weighty topics. Violence, religion and love all find a place in her creative output.


De Beer is the Head of the Sculpture Area in New York University Steinhardt’s Art Department. She has exhibited her work nationally and internationally in such venues as the New Museum, the Whitney Museum of American Art, S1/MOMA and the Brooklyn Museum in New York, Los Angeles Contemporary Exhibitions in Los Angeles, the Reina Sofia in Madrid and many other venues in Europe. De Beer’s work is in the permanent collections of the Museum of Modern Art, the Whitney Museum of American Art, the New Museum for Contemporary Art, the Brooklyn Museum and the Goetz Collection.

Phoebe Gloeckner
6:30p.m. – Thursday, March 3, 2016
Canzani Center Screening Room, CCAD
Film screening at 4:30 p.m.


Phoebe Gloeckner is a graphic novelist. Her book, The Diary of a Teenage Girl (2002), was praised as “one of the most brutally honest, shocking, tender, beautiful portrayals of growing up female in America.” Cartoonist R. Crumb called her story, Minnie’s Third Love(published in A Child’s Life and Other Stories) one of the “comicbook masterpieces of all time.”


In 2008, Gloeckner was awarded the Guggenheim Fellowship to continue work on an on-going project centering on the life of the family of a murdered teenager living in Ciudad Juárez, several hundred feet from the US-Mexico border. Throughout and preceeding the escalation and gradual recession of the current period of intense violence in the city (3,200+ homicides in 2010), Gloeckner has been observing the evolution of the family, the case of their daughter’s murder, and the neighborhood they live in. The end product of this process will be several novels.


Gloeckner has long experimented with the form of the novel- Diary is a hybrid of prose and graphic novel, and her current projects will incorporate various media (audio, motion, and static) with text. The challenge is to create an electronic “multi-touch” book offering a “seamless” reading experience, a work that feels to be of one piece (the whole, greater than the sum of its parts) rather than an “enhanced” novel with multi-media annotations and side matter. She is working concurrently on printed versions of these books.

Em Rooney
6:30p.m. – Thursday, Feb. 25, 2016
Canzani Center Screening Room, CCAD


Em Rooney (b. 1983) is a New York based artist, writer, and curator born in Bridgeport, CT. She received her BA from Hampshire College and her MFA from Tyler School of Art. In 2012 she was a participant at Skowhegan. Solo and two person shows include; The Word For Forest, Bodega, New York City (2016), Night Paintings, Beverly’s, New York (2014), Flesh and Ground, The Good Press Gallery, Glasgow, Scotland (2013), All Alone, Vox Populi, Philadelphia (2011), and Like Flex / Like Flex with Strauss Bourque-LaFrance, Bodega, Philadelphia (2010).

Josh Owen
6:30p.m. – Thursday, Feb. 18, 2016

Canzani Center Auditorium, CCAD


Josh Owen is the President of his design studio, Josh Owen LLC. He is also a Full Professor and the Chair of the Industrial Design Department at the Rochester Institute of Technology, where he teaches in both the graduate and undergrad areas, developing programming across disciplinary lines, most notably under the umbrella of the newly formed Vignelli Center for Design Studies.


Owen has been the winner of six Chicago Athenaeum Good Design Awards. He has also been the recipient of the ID Annual Design Review Award, the International Design Award, as well as nominations for the Chrysler Award for Innovation in Design, the Athena Emerging Designer Award and an honorable mention for the Red Dot Design Award. He has shown his furniture, lighting and product designs in numerous solo and group exhibitions including 100% Design (Tokyo), 100% Design East (London), the Salone del Mobile (Milan), the Salon du Meuble (Paris), the International Contemporary Furniture Fair (New York) and the exhibition, “Josh Owen: Big Ideas / Small Packages” in Philadelphia. Owen’s work is included in the permanent design collections of the Centre Georges Pompidou in Paris, the Chicago Athenaeum, the Corning Museum of Glass, the Denver Art Museum, the Musee des Beaux-Arts de Montreal, the National Museum of American Jewish History, the Philadelphia Museum of Art and the Taiwan Design Museum in Taipei among others.

John Newman & Andrianna Campbell
6:30p.m. – Thursday, Feb. 4, 2016
Canzani Center Auditorium, CCAD


Andrianna Campbell is a PhD candidate in Art History at the Graduate Center of the City University of New York. She specializes in American art and art of the Americas in the modern and contemporary period. Campbell is currently the coeditor of Shift: Graduate Journal of Visual and Material Culture and is a contributor to Artforum. In 2013, Campbell and Daniel S. Palmer curated Decenter NY/DC: An Exhibition on the Centenary of the 1913 Armory Show in the Abrons Arts Center at the Henry Street Settlement in New York which then traveled to the Luther W. Brady Gallery at George Washington University in Washington, DC. For over four years, she taught art history and a seminar about collaborative practice at Parsons the New School for Design in New York. She is currently the Andrew W. Mellon Fellow at the Dia Art Foundation.


John Newman is a New York-based artist. He was born in Flushing, New York, and received his BA from Oberlin College. He attended the Whitney Museum Study Program in 1972, received his MFA in 1975 from the Yale School of Art, and was a fellow at the Center for Advanced Visual Studies at MIT from 1975-78. He has had over 50 one-person shows and participated in numerous group exhibitions in galleries and museums throughout the United States, Europe, and Asia.

Newman’s sculpture, drawings, and prints are represented in numerous public collections including the Museum of Modern Art, the Metropolitan Museum, the Whitney Museum, the Tate Modern in London, the National Gallery in Canberra, the Alberina Museum in Vienna, among many others.

Peter Schjeldahl
6:30p.m. – Thursday, Jan. 21, 2016
Canzani Center Auditorium, CCAD


Peter Schjeldahl has been a staff writer at The New Yorker since 1998 and is the magazine’s art critic. He came to the magazine from The Village Voice, where he was the art critic from 1990 to 1998. Previously, he had written frequently for the New York Times’s Arts and Leisure section. His writing has also appeared in ArtforumArt in America, the New York Times MagazineVogue, and Vanity Fair. He has received the Clark Prize for Excellence in Arts Writing from the Sterling and Francine Clark Art Institute; the Frank Jewett Mather Award from the College Art Association, for excellence in art criticism; the Howard Vursell Memorial Award from the American Academy of Arts and Letters, for “recent prose that merits recognition for the quality of its style”; and a Guggenheim Fellowship. He is the author of four books of criticism, including “The Hydrogen Jukebox: Selected Writings,” and “Let’s See: Writings on Art from The New Yorker.”

Dennison W. Griffith
6:30p.m. – Friday, Jan. 8, 2016

Canzani Center Auditorium, CCAD


Throughout his career Dennison W. Griffith has endeavored to foreground the materiality of painting and its formal, psychological, and conceptual dimensions. He constructs his work in a physical way—through gesture, color, and drawing-based procedures—while imbuing it with questions of performativity, humor and nothing short of life’s libidinous nature.


His work has embodied the idea that painting is a physical thinking process to continue an interior dialogue and a way to engage in a kind of internal discourse, or sub-linguistic speech. Strangely intimate, Griffith’s abstractions have negotiated a space of both ideas and feelings that are inflected with an emotional empathy and with gestures that are capable of being simultaneously pensive and assertive.


These last two years have marked striking departures in the continuity Griffith’s steady, dependable studio practice of the 15 years prior. The result is a surprisingly vital series of works that, among other things, express the totality of painting. He has become absorbed in the semiotics of painterly language itself by way of a vocabulary that focuses on gaping, mothership yoni images, often supported on spindly tripods or pendulous on meager tethers that ascend upward into the sky beyond the picture plain.


They are the surprisingly innate symbols of vitality that are still tenderly in need of help and support so that they might participate in the dance that comprises the rest of any given painting. It’s a choreography that includes other-worldly yet comforting landscapes, and motile, vaguely spermatozoon visual counterpoints.


They are kind paintings that manage to mingle Amy Sillman’s approach to abstraction with a hint of Guston’s more malevolent code. They celebrate, but also retain a clarifying air of solemnity. These new works are curious and cathartic but also cogent and restrained.

Terrance Hayes
6:30p.m. – Thursday, Dec. 10, 2015
Canzani Center Auditorium, CCAD


Hayes’s honors include a Whiting Writers’ Award and fellowships from the MacArthur Foundation, the National Endowment for the Arts, and the Guggenheim Foundation. He has taught at Carnegie Mellon University, the University of Alabama, and the University of Pittsburgh.


In his poems, in which he occasionally invents formal constraints, Hayes considers themes of popular culture, race, music, and masculinity. In a 2010 review of Lighthead for the New York Times, Stephen Burt observed: “Hayes’s fourth book puts invincibly restless wordplay at the service of strong emotions: a son’s frustration, a husband’s love, a citizen’s righteous anger and a friend’s erotic jealousy animate these technically astute, even puzzle-like, lines.” In his latest collection of poems, How To Be Drawn, Hayes, a visual artist as well, also reflects on identity via the act of drawing, the basic impulse to make an illustrative mark and the concept of being the subject of a drawing.

Jennifer Siegal
6:30p.m. – Thursday, Oct. 1, 2015
Will now take place on Nov. 19, 2015

Canzani Center Auditorium, CCAD


Jennifer Siegal is known for her work in creating the Prefab home of the 21st century. She is founder and principal of the Los Angeles-based firm Office of Mobile Design (OMD), which is dedicated to the design and construction of responsible, sustainable, and precision built structures. Siegal’s work was exhibited at the Cooper Hewitt, National Design Museum’s 2003 National Design Triennial; the Walker Art Center’s Strangely Familiar: Design and Everyday Life; the 2006 NY Mobile Living Exhibition; and the National Building Museum’s The Green House, New Directions in Sustainable Architecture and Design in 2006 and Reinventing the Globe: A Shakespearean Theater for the 21st Century in 2007. Her work has been televised on CNN, HGTV, broadcast on NPR ‘My Fellow Americans’, widely published in over 100 books, newspapers and journals from Architectural Record, Domus, Dwell, Elle Décor, ID, LA Times, Newsweek, New York Times, A monograph on Jennifer Siegal was published in 2005.

Shane Mecklenburger
6:00p.m. – Friday, Nov. 13, 2016
Canzani Center Auditorium, CCAD


The End & the Beginning of Everything is a set of sculptures, videos and prints emerging from computer simulations of supernova explosions made in collaboration with the FLASH Center for Computational Science at the University of Chicago and the Advanced Computing Center for Arts & Design. The project symbolically explores the complex network of forces and concerns giving rise to these simulations― from the Comprehensive Nuclear-Test-Ban Treaty to efforts to understand how the building blocks of planets and life were created― and their relationship to the techno-romantic sublime.

Steve James
6:30 p.m. – Thursday, Nov. 5, 2015

Thursday, Nov. 5, 4:30 p.m. – James’ film – Life Itself – will be screened
Wednesday, Nov. 4, 6:30 p.m. – James’ film – Hoop Dreams – will be screened
Tuesday, Nov. 3, 6:30 p.m. – James’ film – The Interrupters – will be screened


Steve James’ first film, Hoop Dreams, won every major critics award in 1994 as well as a Peabody and Robert F. Kennedy Journalism Award in 1995. The film earned James the Directors Guild of America Award and the MTV Movie Award’s “Best New Filmmaker.” Recently, Hoop Dreams was selected for the Library of Congress’ National Film Registry, signifying the film’s enduring importance to American film history, and hailed by critic Roger Ebert as “the great American documentary.” James’ most recent documentary, Life Itself, about film critic Roger Ebert, premiered to critical acclaim at Sundance and was named the best documentary of the year by over a dozen critics associations, and received the Golden Tomato Award from Rotten Tomatoes as the best reviewed documentary of 2014. It also was awarded best documentary by The Critic’s Choice Awards, The National Board of Review, and The Producers Guild of America.

Beverly Fishman in conversation with John Corso
6:30p.m. – Thursday, Oct. 29, 2015
Canzani Center Auditorium, CCAD


Bev Fishman is the Artist In Residence for painting at Cranbrook Academy of Art. Fishman’s art explores the relationship between color, form, and human identity in relation to both abstract and mechanical practices. To this end, she has developed a hybrid process that integrates subjective color choices and gesture with mass reproduction and industrial fabrication. Fishman’s overall subject is how technology affects both the body and the mind and how it represents, supplements, idealizes, and stereotypes us, and thereby how it changes us.


Fishman’s talk at CCAD will be in conjunction with her exhibition Big Pharma – a collection of urethane paintings that explore our contemporary global condition in which drugs construct and contest identity. The work employs scale shifts and chromatic juxtapositions to turn tiny commodities (pills) into large signs and corporate logos that promise health, beauty, pleasure, and the transcendence of death. These works emphasize our pervasive medical condition that extends from the physical to the virtual and from the personal to the political.


John Corso is a Detroit-based art critic and an associate professor of contemporary art history and critical theory at Oakland University in Rochester, Michigan.

Victoria Fu
5:30 p.m. – Friday, Oct. 23, 2015
3rd Floor DSB, CCAD


Victoria Fu received her MFA in Art from CalArts, MA in Art History/Museum Studies from USC, and BA in Art History from Stanford University. A Whitney ISP and Skowhegan alumna, she is an Art Matters Foundation Grantee and Guggenheim Fellow. Recent solo exhibitions include Honor Fraser Gallery in Los Angeles; Simon Preston Gallery in New York City; University Art Gallery at UC Irvine; and The Contemporary in Baltimore. Recent group shows include the 2014 Whitney Biennial; Museum of Contemporary Art San Diego; 52nd New York Film Festival; IX Nicaragua Biennial – and upcoming this fall at the Kadist Foundation in San Francisco. Fu co-organized the conference Touching the Screen at the University of Oslo this past spring and will be speaking at the ENGAGE MORE NOW! symposium at the Hammer Museum this November. She lives and works in Los Angeles and is the Assistant Professor of Visual Arts at the University of San Diego.

Michael Chabon in conversation with Jared Gardner:
Comics, Movies and Literature: 6:30 p.m. – Thursday, Oct. 15, 2015
Canzani Center Auditorium, CCAD


The Pulitzer Prize-winning Novelist – Author of The Amazing Adventures of Kavalier & Clay– will be at CCAD in conversation with Jared Gardner, Professor in OSU’s Department of English & the Film Studies Program, regarding the nexus between film and screen writing, comics, and literature. Michael Chabon has lectured widely on topics including the art and craft of writing, the tradition of Jewish fiction, and Vladimir Nabokov, to name but a very few. He has appeared before audiences all over the United States and in Russia, Finland, Lithuania, Italy, France, Great Britain, Germany and Canada. He has spoken to the creative teams at Pixar Animation Studios about fantasy and childhood, to the employees of Industrial Light and Magic about the art of storytelling, and to many different literary, Jewish, and corporate organizations about a wide variety of topics. Chabon has also been a finalist for the National Book Critics Circle Award, the PEN/Faulkner Award, and the Los Angeles Times Book Prize.

Susan Howe, known for innovative verse that crosses genres and disciplines in its theoretical underpinnings and approach to history, is one of the preeminent poets of her generation. Layered and allusive, her work draws on early American history and primary documents, weaving quotation and image into poems that often revise standard typography. Howe’s interest in the visual possibilities of language can be traced back to her earlier work as a painter. An idiosyncratic, important, and increasingly influential American poet, Howe has received two American Book Awards, a Guggenheim fellowship and the Bollingen Prize in American Poetry from Yale University.

Art Spiegelman has almost single-handedly brought comic books out of the toy closet and onto the literature shelves. In 1992, he won the Pulitzer Prize for his masterful Holocaust narrative Maus. In 1980, Spiegelman founded RAW, the acclaimed avant-garde comics magazine, with his wife, Françoise Mouly. In 2011, Art Spiegelman won the Grand Prix at the Angoulême International Comics Festival. The honor also included a retrospective exhibition of his artwork, shown in the Pompidou Center and the Jewish Museum in NYC.


Françoise Mouly has been art editor of The New Yorkersince 1993 and is the publisher and editorial director of TOON Books. Ms. Mouly has been responsible for over 1,000 covers over her tenure at The New Yorker. In 2011, she was awarded France’s highest honor, the Legion of Honneur.

Founder and editor of (and frequent contributor to) the respected publication, The Brooklyn Rail, Bui has curated over 40 monographic and group shows since 2000, including a first anniversary commemoration of Hurricane Sandy, Come Together: Surviving Sandy, Year 1. Robetta Smith reviewed the exhibition in the New York Times as “…a sprawling, encompassing, inspiring exhibition of works by some 300 artists.” Jerry Saltz of New York magazine also ranked it as New York’s #1 exhibition in 2013.


In 2013 he initiated the Rail Curatorial Projects, which aims to curate exhibitions as social experiments. In 2014, Bui curated, Bloodflames Revisited which featured the work of more than two dozen artists at Paul Kasmin Gallery and, most recently, Spaced Out: Migration to the Interior at Red Bull Studios.

White Elephant (1860 – ) is a meditation on how family histories come to life and retain vitality through photographs and artifacts. It’s an interpretation and retelling of a specific family history that serves as both an examination of how histories are encapsulated and assimilated into our present, and a reckoning with the nature of the obsession with family history itself. In a time of packaged genealogy and promised connection to history’s grandeur and romance, Bole’s work turns the soil on her own family’s past to produce a more visceral interpretation of the arcane nature and collapse of familial histories, artifacts and images. White Elephant (1860 – ) lends itself to a less literal, though deeper, understanding of how lives long ago past are understood now. Bole’s work at CCAD is an immersive installation that connects her fascination with the artifacts and photographs of the American Antebellum era – what Greil Marcus described as “…the old, weird America…” – with her immediate experience pertaining to her own lineage; a history steeped in a faded Victorian culture for which Bole is the dedicated and even obsessed archivist.

Karim Rashid
6:30p.m. – Thursday, Sept. 17, 2015
Canzani Center Auditorium, CCAD


Karim Rashid is one of the most prolific designers of his generation with over 3000 designs in production, over 300 awards, and working in over 40 countries. His award winning designs include luxury goods for Christofle, Veuve Clicquot, and Alessi, democratic products for Umbra, Bobble, and 3M, furniture for Bonaldo and Vondom, lighting for Artemide and Fabbian, high tech products for Asus and Samsung, surface design for Marburg and Abet Laminati, brand identity for Citibank and Sony Ericsson and packaging for Method, Paris Baguette, Kenzo and Hugo Boss. His work is featured in 20 permanent collections and he exhibits art in galleries worldwide. Karim is a perennial winner of the Red Dot award, Chicago Athenaeum Good Design award, I. D. Magazine Annual Design Review, IDSA Industrial Design Excellence award.

Charles Atlas in conversation with Johanna Fateman
6:30p.m. – 7:30 p.m., Thursday, Sept. 10, 2015
Canzani Center Auditorium, CCAD
Reception with the artist follows in the Beeler Gallery


Charles Atlas is a pioneering figure in film and video who for decades has stretched the limits of his medium in collaborations with Marina Abramovic, Yvonne Rainer, Antony and the Johnsons, and Merce Cunningham. Atlas’s work has been exhibited at MoMA, Tate Modern, Centre Pompidou, ICA-Boston, and the Whitney Museum of American Art. In January 2015, Prestel Publishing released Charles Atlas, the first major publication on Atlas’s work, featuring writings by Stuart Comer, Douglas Crimp, Douglas Dunn, Johanna Fateman, and Lia Gangitano.


Johanna Fateman is a member of the post-punk band Le Tigre and founded the band MEN with Le Tigre band mate JD Samson. She also writes critically about art and pop culture for Bookforum and Artforum magazine and recently donated her early zines and correspondence to the Riot Grrrl Collection at the Fales Library, NYU.

Jules Feiffer
4 p.m. – Sat., Sept. 5, 2015
Canzani Center Auditorium, CCAD
Jules Feiffer’s talk at CCAD is part of the American Association of Editorial Cartoonists annual convention and is free and open to the public.


Jules Feiffer’s talk at CCAD is part of the American Association of Editorial Cartoonists annual convention and is free and open to the public.


Jules Feiffer began his iconic career working on Will Eisner’s comic The Spirit, featuring the eponymous masked detective, while still a student at the Pratt Institute in NY. In 1956 Feiffer offered some of his cartoons to the recently-established Village Voice, and they began running his weekly socio-political strip under the title “Sick, Sick, Sick.” Feiffer claimed that the title didn’t refer to his humor – as had been claimed by Newsweek and Time – but to society itself. The strip was later renamed simply “Feiffer”. Through his now classic cartoons Feiffer helped to shift the paradigm of comics from humor that revolved around insults and gags,  – “…Bob Hope and Bing Crosby, Burns and Allen, Ozzie and Harriet….” as Feiffer himself once stated – to a poignant comedy about relationships, politics, and nothing less than the confusion, ambivalence, and dilemma of dealing with the complexities of modern American life.

6:30p.m. – Thursday, Sept. 3, 2015
Canzani Center Auditorium, CCAD
Mike Peters’ talk at CCAD is part of the American Association of Editorial Cartoonists annual convention and is free and open to the public.


Mike Peters’s talk at CCAD is part of the American Association of Editorial Cartoonists annual convention and is free and open to the public. Peters has been a nationally syndicated editorial cartoonist for more than 30 years and has been recognized with a Pulitzer Prize in his field. He has also received the National Cartoonists Society’s Reuben Award in recognition of his comic strip Mother Goose and Grimm, which is published in 500 newspapers and has a daily readership of 100 million. When his animated editorial cartoons, Peters Postscripts, began on NBC Nightly News in 1981, it was the first time animated editorial cartoons appeared regularly on a prime-time network news program. Peters also hosted the 14-part interview series, The World of Cartooning with Mike Peters, for PBS.

Kelli Connell’s portraits appear to document a relationship between two women. Their idiom looks familiar: a young couple caught up in everyday moments of pleasure and reflection — a picnic in the park or a playing pool in a bar. The first flicker of unease comes as the viewer registers the similarity of the two subjects.


In fact, Connell has photographed the same model portraying both women for a number of years, allowing the subjects to age and a subitle trajectory to form within the fictive relationship. She digitally combines the images so seamlessly that not a trace remains of their construction.


Connell has been at the forefront of artists using digital technologies for the past decade, but her art is not about Photoshop. The photographs in the Double Life series extend far beyond their duplicity into larger and more complex issues of identity and visual rhetoric.


As she tells Dawoud Bey in an interview for her book Double Life, “For the most part, I’m not actually thinking so much about representing two females in a relationship. I’m more so thinking about the multiple sides of the self in the overall human experience.”


Doug Ischar is known for his work in documentary photography, installation art. sound art and video art addressing stereotypes of masculinity and male behavior.


Trained as a classical cellist, Ischar began studying art in his thirties, eventually earning an MFA degree from CalArts in 1987


Ischar’s early work, the documentary photographs collected in the series Marginal Waters (1985) and Honor Among (1987), participated in then-contemporary debates around gender and representation, with a particular emphasis on problems of masculinity in American gay male culture.


His artwork from the mid-1990s emerged at a moment when the exploration of media, and cross-disciplinary practices, were critical actions further complicating the then-peculiar state of semiotics. Ischar’s editing of appropriated moving image and static objects addressed the practical and visual boundaries for definitions of masculinity, sexuality, violence and secrecy.


The artist’s single-channel video works of the past ten years are more allusive and poetic, addressing political and theoretical concerns obliquely via densely constructed image-sound montages whose explicit subjects range from the relationship between Maria Callas and Pier Paolo Pasolini (Come Lontano, 2010) to the life of Charlotte Brontë (CB, 2011). Many of Ischar’s recent videos draw heavily on his early training in, and love of, classical music.


Ischar’s recent video and film work was chosen by curator Michelle Grabner for the 2014 Whitney Biennial.

Cartoonist Roz Chast is a brilliant interpreter of the everyday.  Her cartoons depict neuroses, hilarity, angst and domesticity and are loaded with words, objects and patterns.  More than 1000 of them have been printed in The New Yorker since 1978.


Since then, nine collections have been published of Chast’s work, most recently, Theories of Everything, a twenty-five year retrospective. Roz Chast is known for her cast of recurring characters – generally hapless but relatively cheerful “everyfolk.” In her cartoons, she addresses the issues of our time: guilt, anxiety, aging, families, friends, money, real estate, and as she would say, “much, much more!” The editor of The New Yorker, David Remnick, has called her “the magazine’s only certifiable genius.” She recently collaborated with Steve Martin on the children’s book The Alphabet from A to Y with Bonus Letter Z! published by Random House.  Her children’s book, Too Busy Marco, was published by Simon & Schuster and released in the Fall of 2010. The sequel, Marco Goes to School was released in 2012. Her book for adults, What I Hate: From A – Z was published by Bloomsbury in October 2011. She also illustrated a book with songwriter Stephen Merritt called 101 Two-Letter Words published in Fall 2014.  Her newest book for adults is Can’t We Talk about Something More Pleasant?, a book that chronicles her relationship with her aging parents as they shift from independence to dependence. Using handwritten text, drawings, photographs, and her keen eye for the foibles that make us human, Chast addresses the realities of what it is to get old in America today – and what it is to have aging parents today — with tenderness and candor, and a good dose of her characteristic wit. Can’t We Talk about Something More Pleasant? is a New York Times 2014 Best Book of the Year, 2014 National Book Award Finalist, winner of the 2014 Kirkus Prize, and a winner of the National Book Critics Circle Award for the best books of 2014. For the first time in National Book Critics Circle Award history, a graphic novel won the prize for autobiography.

For over thirty years Dawoud Bey’s work has been concerned with the making of resonant photographs within marginalized communities that seek to position subjects within their own active social space as well as the larger historical conversation about issues of representation.


Bey’s work is included in numerous publication, and is the subject of several monographs and publications, including Class Pictures (Aperture, 2007), Harlem, USA (Yale University Press, 2012), Picturing People, Renaissance Society at the University of Chicago, 2012), and Dawoud Bey: The Birmingham Project (Birmingham Museum of Art, 2013). Bey is the recipient of fellowships from the John Simon Guggenheim Memorial Foundation and the National Endowment for the Arts among others honors.


Dawoud Bey holds a Master of Fine Arts degree from Yale University School of Art, and is currently Professor of Art and a Distinguished College Artist at Columbia College Chicago, where he has taught since 1998. He is represented by Mary Boone Gallery, New York, Rena Bransten Gallery, San Francisco, and Stephen Daiter Gallery, Chicago.

In conjunction with Sitter, CCAD is pleased to welcome Anna Shteynshleyger and Brian Ulrich for a conversation on place and identity in contemporary photography in the Canzani Center Auditorium. Ulrich has exhibited and has works in the collections of many museums and institutions including the Museum of Contemporary Art, San Diego; the Museum of Fine Arts, Houston; the Art Institute of Chicago; and the Museum of Contemporary Photography, Chicago. In 2009 Ulrich was awarded the prestigious Guggenheim Fellowship in photography. Shteynshleyger has exhibited and has works in the collections of many museums and institutions including the Nelson-Atkins Museum of Art, Kansas City; the Houston Museum of Fine Arts; the Jewish Museum, NY; the Milwaukee Museum of Art; and the Museum of Contemporary Photography, Chicago. In 2009 Shteynshleyger was also awarded the Guggenheim Fellowship in photography.

The avant-garde fashion label threeASFOUR (made up of designers Adi Gil, Angela Donhauser, and Gabriel Asfour) has worked with Bjork, Yoko Ono, and Kate Spade—not to mention mass fashion icon the Gap. TOPOGRAPHIC features their Fall/Winter 2014 collection, which reveals the varied visual aspects of nature and its inherent geometries through a topographic approach rendered in shades of white. The exhibition will also include threeASFOUR’s recent experimentation in new technologies that provide an immersive virtual fashion show experience. Their work has been acquired by numerous prominent museums around the world, including the Victoria and Albert Museum in London and the Metropolitan Museum of Art in New York, and featured in publications including the New York Times, the New Yorker, Harper’s Bazaar, and W.

Twentieth-century-design expert James Zemaitis began his auction career in 1996 at Christie’s and concluded it last year at Sotheby’s (2003-2013). From his landmark sale of the Farnsworth House by Ludwig Mies van der Rohe, to his offering of the Krosnick Collection of masterworks by George Nakashima, Zemaitis raised the market to new heights, commanded extraordinary attention from the press, and attracted a host of new collectors.

Kenneth Goldsmith is a poet and conceptual artist who has written 10 books, read at the White House, and appeared on The Colbert Report. He is currently poet laureate at the Museum of Modern Art.

Influenced by fashion, textile design, and astronomy, the sculptor and installation artist Heather McGill deploys intensive patterning and strong space-activating color across all her work. As a resident of the suburban outskirts of Detroit, she has absorbed the city’s spirit of Fordist innovation and technological promise and channels that influence as she applies the media of industry to the mantras of modernity. Her work is shown widely and is part of public and private collections around the world.

When The Corrections was published in the fall of 2001, Jonathan Franzen was probably better known for his nonfiction than for the two novels he had already published. In an essay he wrote for Harper’s in 1996, Franzen lamented the declining cultural authority of the American novel and described his personal search for reasons to persist as a fiction writer. “The novelist has more and more to say to readers who have less and less time to read,” he wrote. “Where to find the energy to engage with a culture in crisis when the crisis consists in the impossibility of engaging with the culture?”


Five years after publishing the Harper’s essay, Franzen became fully engaged with his culture. The Corrections was an enormous international bestseller, with translations in 35 languages, American hardcover sales of nearly one million copies and nominations for nearly every major book prize in the country – Franzen was awarded the National Book Award for this novel.


Franzen’s most recent novel is Freedom. In August 2010, he was featured on the cover of TIME Magazine— only the second time in the last decade that a living writer has been on the cover of this national magazine.  Writing in the New York Times Book Review, the review’s editor, Sam Tanenhaus, declared Franzen’s Freedom, “a masterpiece of American fiction,”  and the book debuted at #1 on the Times bestseller list.  Freedom won the 2011 John Gardner Prize for fiction and the Heartland Prize.  It was also chosen as one of the New York Times 10 Best Books of 2010 and as a finalist for National Book Critics Circle Award and the Los Angeles Times Book Prize.


Director Kelly Reichardt first gained widespread notice with her 2006 film Old Joy , a paean to post–9/11 political and personal miasma played out in the campfire conversations and road-trip recollections of two longtime friends in the Cascade Mountains of Oregon. Together they drive into the wilderness, get lost, find the hot spring they’ve been looking for, and return to Portland. What this threadbare narrative really underscores is the unspoken impossibility of their reconnection. Reichardt’s next film, Wendy and Lucy , centered around the escalating hardships of Wendy (played by Michelle Williams; Lucy is her dog) whose car breaks down in a rural Oregon town en route to a well-paying summer job, the film shows how seemingly minor setbacks can lead to devastation.


In 2013Reichardt’s other films include her 1994 debut River of Grass and several short films: Ode , Then a Year , and Travis . Currently a visiting assistant professor at Bard College, she lives in New York City. Revered auteur Gus Van Sant met with Reichardt this July in Portland to discuss the joys and hardships of filming on the cheap, local hot springs, and Wendy and Lucy.


In 2013 Reichardt made Night Moves staring Jesse Eisenberg , Dakota Fanning and Peter Sarsgaard. It’s the story of three radical environmentalists coming together to execute the most intense protest of their lives: the explosion of a hydroelectric dam-the very source and symbol of the energy-sucking, resource-devouring industrial culture they despise.


Reichart’s soon to be released still Untitled next project stars Laura Dern, Kristen Stewart, Michelle Williams and Rosanna Arquette.

Marjane Satrapi was born in in Iran, on the edge of the Caspian Sea. She grew up in Tehran, where she studied at the Lycée Français, before leaving for Vienna and, later, Strasbourg to study Decorative Arts.


In 1997, Satrapi moved to Paris, where she met Christophe Blain, who brought her into l’Atelier des Vosges, home to many of France’s celebrated “new wave” of comic book artists. There, she regaled her fellow artists with amazing stories of her family—stories of dethroned emperors, suicidal uncles, state-sanctioned whippings, and heroes of the revolution—in short, the details of daily life in contemporary Iran. After listening to her stories and seeing her drawings, they kept asking why she was waiting to put her life in the pages of a comic book.


Persepolis tells the story of Marjane Satrapi’s youth in Iran in the 1970s and 80s, of living through the Islamic Revolution and the war with Iraq. It is a book about childhood, a childhood at once outrageous and ordinary—beset by the unthinkable, but buffered by an extraordinary and loving family. Persepolis was published in four volumes in France, where it met with enormous critical acclaim, garnered comparisons to Art Spiegelman’s Maus, and won several prestigious comic book awards (Prix Alph’art Coup de Coeur at Angoulême, Prix du Lion in Belgium, Prix Alph’art du meilleur scénario, and the Prix France Info). Persepolis has been translated into more than forty languages. The work is published as two volumes in the United States: Persepolis and Persepolis 2 it is also available in a single volume as The Complete Persepolis .  It was chosen by the Young Adult Library Association as one of its recommended titles for all students (the list is revised every 5 years and used by educators and librarians across the country), and also named as one of the “100 Best Books of the Decade” by The Times (London). Marjane Satrapi’s other books include Embroideries and her latest adult book, Chicken with Plums (fall 2006).  Satrapi is also the author of several children’s books, including Monsters are Afraid of the Moon.


Marjane Satrapi lives in Paris, where her illustrations appear regularly in newspapers and magazines all around the world. The animated film adaptation of Persepolis (US release December 2007) has garnered huge international acclaim and won the Jury Prize at the Cannes Film Festival; in 2008 it was nominated for an Academy Award for Best Animated Feature Film and won two Cesar Awards (the French version of the Oscars) for Best First Film and Best Adaptation. In all, Persepolis received over 25 major international award nominations and received over 15 major international awards.


Marjane Satrapi’s live-action film Chicken with Plums (based on her book by the same name), made its premiere in the Mostra of Venice on 2011 before winning the award of Best Narrative Film at the Abu Dhabi Film Festival and Best Foreign Language Film from the São Paulo International Film Festival. It opened in the US in August 2012.  Throughout the years, Marjane has continued painting in her free time and attention is growing about this side of her creative energy.  Her art work continues to be part of exhibitions, such as at the Grand Palais in Paris (October 2011).  In September 2012 Le Bon Marché invited Catherine Deneuve to help celebrate its 160th anniversary. The store windows featured three-dimensional versions of 10 illustrations by Marjane Satrapi showing Deneuve in humorous situations.


Marjane Satrapi had her first painting exhibition in January 2013 at the Galerie Jerôme de Noirmont. Her film Gang of the Jotas was released in 2013, and she has directed the film The Voices (2014) starting Ryan Reynolds.

Through her performances, films, and installations, Sharon Hayes examines the intersection of history, politics, and speech, with a particular focus on the language of twentieth-century protest groups. Parole, the title of this installation, refers to the term used by Swiss linguist Ferdinand de Saussure to distinguish individual acts of speech (parole) from a larger system of language (langue). In this installation, several distinct scenes present examples of public speech in different contexts. In each of the settings, which include Hayes’s recent performances as well as fictive scenes without an audience, the same figure appears, recording sound but never speaking. Hayes draws on historical texts—such as early lesbian activist Anna Rüling’s 1904 speech, What Interest Does the Women’s Movement Have in the Homosexual Question—that “re-speak” to new audiences. These historical speeches, and Hayes’s work in general, explore the construction of gender and sexuality and the articulations of political protest, revealing unexpected resonances across time periods. Parole encourages the viewer to think about how past forms of protest can inform the present and how the effects of public speech are altered in the process of documentation.

Larry Groupé, the Emmy Award-winning film score composer for the short film Residue and composer for feature films including Straw Dogs and The Contender, will discuss the role of music in film production.

Born in Syria and raised in Ohio, Diana Al-Hadid makes haunting works that convey a world turned upside down. Formal yet liquid, amorphous yet figurative, the sculptures explore notions of traditional architecture while encompassing elements of painting, stagecraft, and suggestive, open-ended narratives. While the pieces can look like renderings from a fantasy world, they are also intricate studies of space and structure in which the viewer is continually reengaging the work through its constant shift and flow of perspectives.


The exhibition Diana Al-Hadid highlights the artist’s innovative extension into three-dimensional space of pictorial devices conventionally used to convey perspective in two dimensions. Al-Hadid’s recent large-scale gypsum-and-metal sculptures, small bronzes, and drawings were inspired by myriad sources, including Italian and Northern Renaissance painting, Gothic architecture, and Hellenistic sculpture. She travels new terrain for contemporary sculpture at the same time that she recovers influential visual histories.


Al-Hadid (b.1981, Aleppo, Syria; lives and works in Brooklyn) received a BFA from Kent State University and an MFA from Virginia Commonwealth University; she also attended the Skowhegan School of Painting and Sculpture.


Recent solo exhibitions include the Akron Museum of Art, Akron, OH (2013); the Weatherspoon Art Museum, Greensboro, NC (2013); the Virginia Museum of Fine Arts, Richmond (2012); the University of Texas Art Center, Austin (2012); La Conservera, Murcia, Spain (2011); and the Hammer Museum, Los Angeles (2010). Her work has been included in numerous international group exhibitions including 10 under 40, Istanbul ’74, Istanbul, Turkey (2013); Cadavres Exquis, Museum Granet, Aix-en-Provence, France (2013); Invisible Cities, Mass MoCA, North Adams, Massachusetts (2012); and Reoriented, Havremagasinet, Luleå, Sweden (2012).


Al-Hadid has been a New York Foundation for the Arts Fellow in Sculpture and United States Artists Rockefeller Fellow, as well as a recipient of Joan Mitchell Foundation, Tiffany Foundation, and Pollock-Krasner Foundation awards. She is represented by Marianne Boesky Gallery, New York.

Erick Swenson creates sculptures of striking verisimilitude, depicting hybrid animals that feel strangely familiar yet foreign.  Rendered with a naturalist’s sensitivity and incredible precision, the works often present fantastical vignettes of animals ensnared in strange, sometimes devastating circumstances, or quietly poetic scenes that evoke the beauty and tragedy of nature, and by extension of our own human condition.  Executed through old master’s studio techniques and often shocking in their realism and remarkable detail, the works take months, sometimes years, for the artist to fabricate, making new work by Swenson incredibly rare.


Swenson’s works investigate the tension between the wild and the tamed, the innate and the cultivated, while highlighting the perversity of culture’s attempts to control natural instincts.  As Felicia Feaster states in the March/April 2010 issue of Art Papers, “Swenson may be the Cormac McCarthy of sculptors, with the ultimate isolating event—death—very much on his mind…Swenson’s work manipulates our feeling of helpless despair by asking us to bear witness.  The cold silence of his alabaster surfaces and the sense that we are the sole witnesses to these creatures’ death render the solitude and subjective experience of death.  While death may be the most ubiquitous of events, it remains the most singular for its victim.”


Erick Swenson was born in 1972 in Phoenixville, PA and earned his BFA from the School of Visual Arts at The University of North Texas in Denton.  Swenson was featured in the 2001 New Orleans Triennial, the 2004 Whitney Biennial and in Charles Saatchi’s famed USA Today exhibition in London in 2006.  His work has been the subject of solo exhibitions at the Nasher Sculpture Center, Dallas; Savannah College of Art and Design, Savannah and Atlanta; The Hammer Museum at UCLA, Los Angeles; and Museum Villa Stuck, Munich; as well as featured in group exhibitions at the Institute of Contemporary Art, University of Pennsylvania; Contemporary Arts Museum, Houston; Shanghai Museum of Contemporary Art, China; Museum of Contemporary Art, Sydney, Australia; Musée des Beaux-Arts, Lausanne, Switzerland; Collezione Maramotti, Reggio Emilia, Italy; Scottsdale Museum of Contemporary Art, AZ and the Arlington Museum of Art, TX.

CCAD alumna and painter Inka Essenhigh adds the Canzani Center Gallery to her busy exhibition schedule this summer ‘14, sharing her boundary-pushing paintings with her alma mater. Essenhigh’s awareness of contemporary culture has earned her international recognition—in the past 10 years, the 1991 alumna has had solo shows in cities including New York City, London, Brussels and Kyoto, Japan.

David Carson’s typography ushered in a new vision of type and page design in the 1990s—breaking the traditional mold of type on a page and demanding fresh eyes from the reader. Squishing, smashing, slanting, and enchanting the words in a layout, Carson made the point, over and over, that letters on a page are art.


His first book, written with Lewis Blackwell and including a foreword by David Byrne, was The End of Print. Others include the magisterial Book of Probes, an exploration of the thinking of Marshall McLuhan, and the latest Trek, a collection of his recent work.

Bob Nickas is a New York-based critic and curator. He has organized more than eighty exhibitions, including service on the teams responsible for Aperto at the Venice Biennale in 1993 and the 2003 Lyon Biennial.


The author of numerous reviews and catalog essays, Nickas is a regular contributor to Artforum and Vice. His most recent book is Catalogue of the Exhibition.

Micah White is the American creator of the Occupy Wall Street meme. In his lecture, On Contradiction: The Future of Protest is Slow, he will explore how visual culture plays an important role in social change.


White speaks to the innovative position of artists and designers in the current moment of cultural, political, and spiritual upheaval—and calls for a re-imagination of how we relate to the world and our governments.

For the past two decades, Carrie Moyer’s paintings have boldly merged political imagery, abstraction, and unapologetic visual pleasure. Complex and seductive, their references include color field, social realist, and surrealist painting; 1960s and ’70s counter-culture graphics; 1970s feminist art; and bodily forms and fluids.


A painter, designer, and writer, Moyer has had solo shows at the Worcester Art Museum, CANADA, and the American University Museum, D.C., among others. She has also created agitprop for ACT UP, Queer Nation, and DYKE ACTION MACHINE! (DAM!), which she co-founded. Her writing appears in Art in America, Artforum, and Modern Painters.


Joining Carrie Moyer for a conversation about her work is Ian Berry, the director of the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College (where the exhibition originated).


A specialist in contemporary art and a leader in the field of college and university museums, Berry has written more than a dozen books and catalogs and organized projects with artists including Nayland Blake, Los Carpinteros, Richard Pettibone, Shahzia Sikander, and Kara Walker. He has served on the artistic advisory committee for the PBS series Art21: Art in the Twenty-First Century, among many other advisory groups.

Across media, Cheryl Donegan’s work is unified by a sustained interrogation of surfaces—whether canvas, screen, fabric, plastic, or the artist’s own body. Integrating performance and video with painting, drawing and installation, she has exhibited widely in Europe as well as North America since her first solo show in 1993.

Holland Cotter has been an art critic for the New York Times since 1992, winning the Pulitzer Prize for Criticism in 2009. During the 1980s he was a contributing editor at Art in America and an editorial associate at Art News. His subjects have ranged from Italian Renaissance painting to street-based communal work by artist collectives. He is currently working on a book on New York City Modernism, a study of contemporary Indian art, and a poetry manuscript.

Miranda July presents LOST CHILD! With its title borrowed from a gripping trilogy July penned at age seven, LOST CHILD! is part retrospective, part artist lecture, part interactive performance. July discusses the making of books, shoes, friends, movies, performances, and personal protection devices—from her earliest work as a fledgling artist to her current successes and tribulations as an award-winning filmmaker and best-selling author.

Kathy Butterly creates intimate ceramic sculptures that explore the physical and emotional potential of clay. Her exquisitely glazed objects, which range from three to ten inches high, resemble cartoonish forms based on the human body. The sculptures are often cast from mundane kitchen objects and then endowed with appendages such as bulging bellies, curvaceous bottoms, and painted toes. Butterly’s process is both painstaking and unorthodox. Often a single piece will be glazed and fired in the kiln as many as twenty times, resulting in a sensually colored surface that conveys as much as it conceals.


Her work has steadily gained recognition in the United States, with recent solo exhibitions at the Shoshana Wayne Gallery in Santa Monica, California, Tibor de Nagy Gallery in New York City, and The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs, New York. Butterly was a 2011 recipient of the Pollock-Krasner Foundation Grant. Among other awards she has received are a Painters & Sculptors Grant from the Joan Mitchell Foundation (2009) and the Ellen P. Speyer Award from the National Academy of Art in New York City (2006).


Butterly was born in 1963 in Amityville, New York. She received a bachelor’s degree in fine arts (1986) from Moore College of Art in Philadelphia and earned a master’s degree in fine arts (1990) from the University of California, Davis. She is represented by Tibor de Nagy Gallery and the Shoshana Wayne Gallery.


Butterly was the 2012 winner of the Smithsonian American Art Museum’s Contemporary Artist Award.

Joe Fyfe has shown his work internationally since the early 1980s. His work was included in the legendary “Times Square Show”, New York (1980) organized by Colab; and his work has been the subject of solo exhibitions at Christian Lethert, Cologne; ACME, Los Angeles; James Graham & Sons, New York; and David Lusk Gallery, Memphis; among others. He is currently represented by Galerie Christian Lethert, Cologne. Fyfe’s writings have appeared in Artforum, Art in America,, Gay City News,, Art On Paper, and BOMB, s well as numerous catalog essays. He has curated exhibitions for Zurcher Studio, New York; Cheim & Read, New York; and Apex Art, New York, among other venues.


“Fyfe’s recent work – which operates in the elastic territory between painting, sculpture and drawing – explores both the legacy and current realities of non-representational art. In his own work, his writings and curatorial projects – including the polemical exhibition ‘Le Tableau’ that he organized for New York’s Cheim & Read in 2010 – Fyfe acknowledges the earlier utopian ambition of non-representational art whilst simultaneously accommodating a more pragmatic (and often joyful) approach to the ebb-and-flows of our material culture.


Amplifying the poetics of the everyday, the marginal and the overlooked, Fyfe increasingly repurposes found materials – a child’s kite, a discarded sign, or an abandoned banner – into his near-abstract compositions that are informed as much by serendipity as they are by any kind of high-minded formalism. In doing so Fyfe establishes a tension in his work, a push-pull between chance and deliberation, which in turn endows his deceptively informal works with an obsessive precision.”

Natasha Trethewey is the 19th Poet Laureate of the United States and the author of four collections of poetry that unite compelling personal imagery with a clear-eyed examination of African and African-American history: Domestic Work (2000), Bellocq’s Ophelia (2002), Native Guard (2006)—for which she was awarded the Pulitzer Prize—and, most recently, Thrall (2012). Her book of nonfiction, Beyond Katrina: A Meditation on the Mississippi Gulf Coast, appeared in 2010. She has received fellowships from the National Endowment for the Arts, the Guggenheim Foundation, and the Rockefeller Foundation, among others.

Mr. Kersels was born in Los Angeles and attended UCLA for both his undergraduate and graduate educations, receiving a BA in art in 1984 and an MFA in 1995.


His body of work ranges from the collaborative performances with the group SHRIMPS (1984-1993) to large-scale sculptures such as Tumble Room (2001). His interest in machines, entropy, sound, and dissolution has produced work that examines the dynamic tension between failure and success, the individual and the group, and the thin line between humor and misfortune.


Since 1994, Mr. Kersels’ objects and projects have been exhibited at museums both nationally and internationally, including the 1997 Whitney Biennial, the Pompidou Center, MOCA Los Angeles, the Tinguely Museum, Kunsthalle Bern, and the Getty Museum. A survey of his work, entitled “Heavyweight Champion,” was organized and exhibited by the Tang Museum in 2007 and the Santa Monica Museum in 2008.


His room-sized sculpture, 5 Songs, and an accompanying performance series, Live on 5 Songs, was on view in the 2010 Whitney Biennial of American Art.


He was a faculty member and Co-Director of the Art Program at the California Institute of the Arts. Mr. Kersels was appointed Associate Professor and Director of Graduate Studies in Sculpture at Yale in 2012.

Poet, art critic, and curator John Yau has published more than 50 books of poetry, fiction, and art criticism. He has received fellowships from the National Endowment for the Arts and the Guggenheim Foundation as well as awards from the New York Foundation for the Arts and the Academy of American Poets. He was named a Chevalier in the Order of Arts and Letters by France.

Martha Colburn’s stop-motion animated films are often not easy to watch. Frenetic, short and full of violence, they are the product of a laborious technique that combines found imagery with the artist’s own colorful, painted and drawn cut-paper figures and landscapes, set to propulsive soundtracks. American history and identity come under scrutiny in films such as Myth Labs (2008), which shows the first Europeans to arrive in America guided by a bug-eyed Jesus and bearing methamphetamine in their Bibles. The nation’s founding myths, in Colburn’s view, are as volatile as the contents of the rural “meth labs” she depicts. Wars are the subject of such works as Destiny Manifesto (2006) and Triumph of the Wild (2009), whose titles pun, respectively, on Manifest Destiny and on Leni Riefenstahl’s Nazi propaganda film Triumph of the Will.


Born in 1971 in Gettysburg, Pa., Colburn earned a BFA from the Maryland Institute College of Art in 1994, and now lives and works in New York and Amsterdam. Her films and music videos are regularly included in festivals around the world. She has been featured in numerous group and solo exhibitions internationally and is represented by James Cohan Gallery, New York.

Widely recognized as one of the most significant and influential founders of the Los Angeles punk aesthetic, artist and designer Gary Panter has wielded his “punk, nuclear, hillbilly” sensibility in the art world since the late 1970s. Using his characteristic jagged line and raw brushstroke, he presents chaotic, image-strewn landscapes as well as more axiomatic works that center on film archetypes.


Perhaps best known for his Jimbo graphic novels, Panter has won numerous awards, including three Emmys for his production design on Pee-Wee’s Playhouse and the Chrysler Award for Design Excellence.

Although often mistaken for accumulations of found objects, his sculptures are instead made of “brand new stuff”—materials such as wood, rusted iron, cotton, paper, mud—that he intentionally subjects to processes of weathering, burning, oxidization, and decay. Whether jutting from a wall or traversing rooms as freestanding installations, his pieces challenge the architecture of the space in which they’re shown. Memories of his childhood surroundings—from the housing project where he lived to the adjacent landfill—resurface in the intricate grids and configurations of many of his pieces. Drew, an African-American artist born in Tallahassee in 1961 and raised in housing projects in Connecticut, has often alluded to sociopolitical issues in his work. His past use of such symbolically charged materials as cotton, rope, rags and rust has been cited as referring to the antebellum South, Civil Rights struggles and modern industrial America. The charred timbers of this installation suggested some such references, but the work ultimately conveyed the forces and forms of the natural world more broadly.

FULL STOP is a full-scale, highly detailed replica of an artist’s studio made entirely of cardboard and black paint. But at the center is a blank canvas sitting on an easel. As Jessica Hough, then curatorial director at the Aldrich Contemporary Art Museum said, “Filled with historical art references, it is at once playful and painful—a fresh commentary on a perennial problem.”

Greil Marcus has been America’s foremost expert on pop music for more than three decades. He is an iconic columnist and the author of classic books such as Mystery Train and Lipstick Traces. As his career has progressed from his start as an editor for Rolling Stone, his work has also evolved from straightforward music criticism to broader cultural commentary.

Tomaselli grew up in southern California, feeling the influence of nearby theme parks with their manufactured reality as well as the music and drug counterculture of Los Angeles in the 1970s and 1980s. His work evokes both the intensely attractive side of escapism and a darker sense of potentially becoming lost. Tomaselli’s visit to CCAD coincides with the presentation of his exhibition New York Times, in Room, CCAD’s project space in the main gallery.

Nari Ward’s dramatic sculptural installations are composed of material systematically collected from the neighborhoods where he lives and works or is personally connected to. By revealing the complex emotional registers inherent within everyday found objects, Ward’s work examines issues of race, poverty, and consumer culture and the inherent meaning and gravity we place upon objects from the discarded to the treasured.


Ward was included in the 2006 Whitney Biennial in New York and Documenta XI in Kassel (2003), and his works have been exhibited at the New Museum of Contemporary Art in New York, the Walker Art Center in Minneapolis, and the Museum of Contemporary Art in Detroit. Recent solo exhibitions include Episodes at the Isabella Stewart Gardner Museum in Boston, The Refinery X: A small twist of fate at the Palazzo delle Papesse-Centro Arte Contemporanea in Siena, Italy, and Rites of Way at the Walker Art Center in Minneapolis. Ward received commissions from the United Nations and the World Health Organization, and Awards from the American Academy of Arts and Letters, the National Endowment for the Arts, New York Foundation for the Arts, John Simon Guggenheim Foundation, and the Pollock Krasner Foundation.

Sharon Olds is the author of eight volumes of poetry. Her poetry, says Michael Ondaatje, is “pure fire in the hands,” and David Leavitt in the Voice Literary Supplement describes her work as “remarkable for its candor, its eroticism, and its power to move.” With sensuality, humor, sprung rhythm, and remarkable imagery, she expresses truths about domestic and political violence, sexuality, family relationships, love, and the body. Often compared to “confessional” poets, she has been much praised for the courage, emotional power, and extraordinary physicality of her work. A reviewer for The New York Times hailed her poetry for its vision: “Like Whitman, Ms. Olds sings the body in celebration of a power stronger than political oppression.”


Born in San Francisco, Sharon Olds studied at Stanford University and Columbia University. Her numerous honors include a National Endowment for the Arts grant; a Guggenheim Foundation Fellowship; the San Francisco Poetry Center Award for her first collection, Satan Says (1980); and the Lamont Poetry Selection and the National Book Critics Circle Award for The Dead and the Living (1983). Her other books of poetry are Strike Sparks: Selected Poems 1980-2002 (2004), Blood, Tin, Straw (1999), The Gold Cell (1997), The Wellspring (1995), and The Father (1992). Her poetry has appeared in The New Yorker, The Paris Review, Poetry, The Atlantic Monthly, and The New York Times. Named New York State Poet Laureate (1998 – 2000), Olds teaches graduate poetry workshops at New York University (now in it’s 21st year) and the writing workshop she helped found at a 900-bed state hospital for the severely disabled. She is a Chancellor of the Academy of American Poets and a member of the American Academy of Arts and Science. Her poetry collection,  One Secret Thing, was a finalist for the T. S. Eliot Prize & the Forward Prize. Her most recent collection, Stag’s Leap (2012), was named one of Oprah’s Favorite Reads of 2012 and won both the T.S. Eliot Prize, and  the 2013 Pulitzer Prize for Poetry. In 2014, Sharon Olds was awarded the Donald Hall-Jane Kenyon Prize in American Poetry.  In 2015 she was a elected a member of the American Academy of Arts and Letters.

Hancock’s prints, drawings, and collaged-felt paintings work together to tell the story of the Mounds—a group of mythical creatures that are the tragic protagonists of the artist’s unfolding narrative. Each new work by Hancock is a contribution to the saga of the Mounds, portraying the birth, life, death, afterlife, and even dream states of these half-animal, half-plant creatures. Influenced by the history of painting, especially Abstract Expressionism, Hancock transforms traditionally formal decisions—such as the use of color, language, and pattern—into opportunities to create new characters, develop sub-plots, and convey symbolic meaning.


Trenton Doyle Hancock was featured in the 2000 and 2002 Whitney Biennial exhibitions, one of the youngest artists in history to participate in this prestigious survey. His work has been the subject of one-person exhibitions at Contemporary Arts Museum, Houston; Modern Art Museum of Fort Worth; and Museum of Contemporary Art, North Miami. The recipient of numerous awards, Hancock lives and works in Houston, where he was a 2002 Core Artist in Residence at the Glassell School of Art of the Museum of Fine Arts, Houston.

Donald Moffett’s paintings shift our expectations of what a painting should be. They are oil on panel, to be sure, but each blade, hair, and fiber of paint is methodically extruded onto the picture plane so that the surfaces resemble curiously, radiantly pigmented AstroTurf. In The Radiant Future, Moffett’s fetishistic process is contextualized with his established repertoire of holes—as well as with “holding” structures that in some cases might be more correctly described as contraptions. There is inherent tension in the pairing of mere straps and chains with the finely cultivated paintings, an elegant equilibrium of texture and weight.


Moffett has had solo exhibitions at the Contemporary Arts Museum Houston and the Museum of Contemporary Art Chicago. He has participated in group shows at the New Museum (New York), the Museo Nacional Centro de Arte Reina Sofia (Madrid), the Walker Art Center (Minneapolis), the Institute of Contemporary Art/Boston, and many other institutions. Some institutions that have his work in their collections include the Blanton Museum of Art (Austin); Metropolitan Museum of Art (New York); Museum of Fine Arts, Houston; Museum of Contemporary Art Chicago; Walker Art Center; Linda Pace Foundation (San Antonio); and David Roberts Art Foundation (London).


Byron Kim’s work sits at the threshold between abstraction and representation, between conceptualism and pure painting.  In his richly hued, minimalist works, Kim seeks to push the edges of what we understand as abstract painting by using the medium to develop an idea that typically gets worked out over the course of an ongoing series.  His paintings often appear to be pure abstractions, but upon investigation and contemplation, they reveal a charged space that connects to the artist’s personal experiences and whose underlying ideas raise questions about issues from politics to environmentalism to cultural identity.


Byron Kim, is a Senior Critic at Yale University. He received a BA from Yale University in 1983 and attended Skowhegan School of Painting and Sculpture in 1986. He has received numerous awards including the Alpert Award, UCROSS and Joan Mitchell Foundation Grant. Kim has participated in many other international exhibitions including the 7th and 3rd Gwangju Biennale, Korea in 2000 and 2008. In addition to the National Gallery of Art’s collection, his work is in the permanent collection of the Albright-Knox Art Gallery, Buffalo, NY; the Art Institute of Chicago, IL; the Berkeley Art Museum, Berkeley, CA; the Blanton Museum of Art, Austin, TX; the Hirshhorn Museum, Washington D.C.; the Museum of Contemporary Art, La Jolla, CA; the National Gallery of Art, Washington, DC; the Norton Family Collection, Santa Monica, CA; the Wadsworth Athenaeum, Hartford, CT; the Walker Art Center, Minneapolis, MN; the Whitney Museum of American Art, NY; and the Worcester Art Museum, Worcester, MA. Byron Kim lives and works in Brooklyn, NY.

Chris Ware was born in Omaha, Nebraska in 1967. While attending the University of Texas at Austin, he published a regular comic strip in the student newspaper which Art Spiegelman happened upon and subsequently gave the youthful cartoonist four pages in his and Françoise Mouly’s RAW magazine. Ware moved to Chicago in the early 90s and began publishing in the pages of the Chicago alternative weeklies New City and The Chicago Reader, forming the bulk of material which he’s collected in the semi-regular periodical The ACME Novelty Library ever since. Offering both serialized stories and short experiments in comics form, a collection of the same name was issued in a large-format hardcover by Pantheon Books in 2005. From both this strip and periodical emerged the graphic novel Jimmy Corrigan — the Smartest Kid on Earth (Pantheon, 2000) which received an American Book Award in 2000, the Guardian First Book Award in 2001, as well as being included in the Whitney Biennial of American Art in 2002.  In 2009 Jimmy Corrigan was named as one of the “100 Best Books of the Decade” by The Times (London).  Ware was also the guest-editor of the 13th issue of McSweeney’s and Houghton-Mifflin’s Best American Comics 2007. He is a contributor to The New Yorker, and was the first cartoonist chosen to inaugurate the New York Times Magazine’s experimental comics section. His most recent book, Building Stories, was a New York Times and Time Magazine Top 10 Book of the Year for 2012, and was chosen as the single best book of the year by Publisher’s Weekly. He is currently at work on three different graphic novels of varying length and a monograph for Rizzoli Books. He also created a limited run, online serial for The Guardian titled The Last Saturday that debuted in the Fall of 2014.


Chris Ware’s work has appeared in many national and international art exhibits, including solo exhibitions at the Gavle Kunstcentrum in Sweden, the MCA Chicago as well as appearing as part of The Masters of American Comics traveling exhibit in 2006. In 2014 The Art Institute of Chicago staged an exhibit of his work titled The Comic Art and Architecture of Chris Ware.  His work is represented by the Adam Baumgold Gallery in New York and the Galerie Martel in Paris. Ware lives in Oak Park, Illinois with his wife, Marnie, a high school science teacher, and their daughter, Clara.

Aurora Robson is a multimedia artist known for her transformative use of plastic debris, excess packaging, and junk mail as artmaking material. A Canadian, Robson has lived and worked in New York City for the past 21 years as a “subtle yet determined environmental activist” and advocate for plastic pollution awareness. She has exhibited all over the United States and Europe and is the founding artist of Project Vortex, an international collective of artists, designers and architects who also work with plastic debris.

Stefan Sagmeister and his agency, Sagmeister Inc., are best known for their album and poster designs—but they’ve also created branding, graphics, and packaging for clients as diverse as the Rolling Stones, HBO, the Guggenheim Museum, and Time Warner. Sagmeister himself is a longtime collaborator with musicians David Byrne and Lou Reed. He has delivered several TED talks and teaches at the School of Visual Arts in New York.


Sagmeister studied graphic design in Vienna and New York. After working with Leo Burnett’s Hong Kong Design Group, he returned to New York in 1993 to work with Tibor Kalman just before Kalman retired from the design business. Sagmeister stayed in New York to found Sagmeister Inc. He has won more than 200 design awards, including: The One Show, Art Directors Club, Communication Arts, D&AD, and Grand Prix of the Moscow Art Directors Club Hall of Fame.

Fritz Haeg‘s work has included: animal architecture, crocheted rugs, domestic gatherings, edible gardens, educational environments, preserved foods, public dances, sculptural knitwear, temporary encamp.m.ents, urban parades, wild landscapes, and occasionally buildings for people. Haeg studied architecture in Italy at the Istituto Universitario di Architettura di Venezia and Carnegie Mellon University, where he received his B. Arch. He is a Rome Prize fellow – in residence at the American Academy in Rome from 2010-2011, a MacDowell Colony Fellow in 2007, 2009 and 2010, Montalvo Arts Center Fellow in 2012, nominated for National Design Awards in 2009 and 2010 and a 2014 California Community Foundation Visual Art

Born in Santa Fe, NM, Nicola López lives and works in Brooklyn and teaches at Columbia University in New York City.  Through her work in installation, drawing and printmaking, López describes and reconfigures our contemporary—primarily urban—landscape.  Her focus on describing ‘place’ stems from an interest in urban planning, architecture and anthropology, and has been fueled by time spent working and traveling in different landscapes.  López has received support for her work through a NYFA Fellowhsip in Drawing/Printmaking/Book Arts and a grant from the Joan Mitchell Foundation, among others.

Conway specializes in visual perception often exploring the limitations of the visual system in his artwork. Associate Professor at Wellesley College Conway was educated at McGill University and Harvard University. On finishing his PhD, he was elected Junior Fellow at the Harvard Society of Fellows, and spent a year as an Alexander von Humboldt Fellow at the University of Bremen, Germany. Since 2006 he has been Knafel Assistant Professor in the program of Neuroscience at Wellesley College. Conway also helped establish the Kathmandu University Medical School in Nepal, where he taught as Assistant Professor in 2002-03