Stephanie Syjuco creates large-scale spectacles of collected cultural objects, cumulative archives, and temporary vending installations, often with an active public component that invites viewers to directly participate as producers or distributors. Using critical wit and collaborative co-creation, her projects leverage open-source systems, shareware logic, and flows of capital, in order to investigate issues of economies and empire. Born in the Philippines, Syjuco received her MFA from Stanford University and BFA from the San Francisco Art Institute. A recipient of a 2014 Guggenheim Fellowship, her work has been shown nationally and internationally, and included in exhibitions at MoMA/P.S.1, the Whitney Museum of American Art, The San Francisco Museum of Modern Art, ZKM Center for Art and Technology, The 12th Havana Biennial, The 2015 Asian Art Biennial (Taiwan), among others. She is an Assistant Professor in Sculpture at the University of California, Berkeley and lives and works in Oakland, California.
Gordon Hall’s sculptures and performances have been presented at SculptureCenter, Brooklyn Museum, Museum of Contemporary Art Chicago, Whitney Museum of American Art, Movement Research, EMPAC, Art in General, Temple Contemporary, Kent Fine Art, Foxy Production, Hessel Museum at Bard College, White Columns, Wysing Arts Centre, Abrons Arts Center, and Socrates Sculpture Park, among others. Hall’s first institutional solo show will take place at the MIT List Center for Visual Arts in the Spring of 2018, and Hall will be in residence at the Brodsky Center for Books and Editions at Rutgers University in early 2018. Hall’s writings and interviews have been featured in a variety of publications including V Magazine, Randy, Bomb, Title Magazine, Walker Art Center’s Artist Op-Ed Series, What About Power? Inquiries Into Contemporary Sculpture (published by SculptureCenter), Documents of Contemporary Art: Queer (published by Whitechapel and MIT Press), and Theorizing Visual Studies (Routledge). Hall holds an MFA and an MA in Visual and Critical Studies from the School of the Art Institute of Chicago.
Kristan Kennedy is a Portland-based artist, curator, and educator. She is the Artistic Director, Curator of Visual Art for the Portland Institute for Contemporary Art (PICA). For the last decade, Kennedy has focused on commissioning new work by international emerging artists in the form of large-scale, site-specific installations and solo projects that exist at the borders of genres. Kennedy teaches Contemporary Art History at Portland State University, where she directed the MFA Visiting Artist Program and Lecture Series (2011-2015), and founded the programs companion journal STUDIO. Kennedy is represented by Fourteen30 Contemporary, Portland, Oregon. While the artist identifies as a painter, she also questions the history, process and medium that she is complicit in perpetuating. Curator and critic Stephanie Snyder says of Kennedy’s paintings in Artforum, “their intense dialectic of beauty and repulsion mirrors the artist’s philosophical struggles—we sense that both artist and artwork have gone through the wringer—together—to achieve a hard-won grace”. Recent exhibitions include Flat Fix, Halsey McKay Gallery, NY; Eyes, Ditch Projects, OR; Sunday, Crisp-Ellert Museum, FL; Kristan Kennedy Meets a Clock, Soloway, NY; Sleeper, Fourteen30 Contemporary, OR; OO, Misako & Rosen, Tokyo; Tomorrow, Tomorrow, CANADA and Other Colors, Fourteen30 Contemporary.
Arnold Joseph Kemp has been working as an artist in San Francisco, New York, Portland, Richmond, and Chicago since 1991. He has also worked internationally in Stockholm, Paris, Vienna, Berlin and Nassau, Bahamas. He is an artist, curator and writer. His works are in the collections of the Metropolitan Museum of Art, The Studio Museum in Harlem, The Berkeley Art Museum and Pacific Film Archive, The Tacoma Art Museum, The Schneider Museum of Art and the Fine Arts Collection at the University of California, Davis. He is a 2012 Guggenheim Fellow and has also received awards and fellowships from the Joan Mitchell Foundation, the Pollock-Krasner Foundation, Art Matters Inc., Printed Matter, Inc., and Portland Institute for Contemporary Art. He holds an MFA from Stanford University. He is Dean of Graduate Studies at The School of the Art Institute of Chicago. His work has been exhibited in Chicago at Iceberg Projects.
Eric N. Mack was born in 1987 in Columbia, Maryland and lives and works in New York, NY. He received his BFA from The Cooper Union and his MFA from Yale University. He is currently taking part in an artist-in-residency programme at Delfina Foundation in London. Institutional solo exhibitions include the BALTIC Artists’ Award 2017, BALTIC Centre for Contemporary Art, Gateshead, UK (2017) and Eric Mack: Vogue Fabrics, Albright–Knox Art Gallery, Buffalo, NY. Major group exhibitions include Ungestalt, Kunsthalle Basel; In the Abstract, Massachusetts Museum of Contemporary Art; Blue Black, Pulitzer Arts Foundation, St. Louis; Making & Unmaking: An exhibition curated by Duro Olowu, Camden Arts Centre, London, UK; and Greater New York, MOMA PS1, Long Island City, NY. His first solo exhibition with Simon Lee Gallery will take place in London in April 2018.
Asher Hartman is an interdisciplinary artist, writer, and director whose work at the junction of visual art and theater centers on the exploration of the self in relation to Western histories and ideologies. He is also one half of the intuitive duo Krystal Krunch (with Haruko Tanaka) whose performances and workshops have been presented in variety of venues including The Pulitzer Art Museum, St. Louis; The Hayward Gallery, London; The Walker Art Center; Minneapolis, and The Miller Gallery at Carnegie Mellon, Pittsburg; Real Art Ways, Hartford; and Extrapool, Netherlands; Hartman’s recent theatrical works include Sorry Atlantis, Eden’s Achin’ Organ Seeks Revenge, Machine Project, 2017;Mr. Akita, Hauser & Wirth 2017, the Berkeley Art Museum and Pacific Film Archive (BAMPFA) 2017, and originally at the Frances Young Tang Museum Teaching Museum and Art Gallery, New York 2015; The Silver, the Black, the Wicked Dance, LACMA 2016; Purple Electric Play!, Machine Project 2014; Glass Bang, at the MAK Center for Art & Architecture’s RM Schindler’s Fitzpatrick-Leland House as part of Machine Project’s engagement in the Getty Museum’s Pacific Standard Time Presents: Modern Architecture in L.A.
Ernesto Pujol is a site-specific performance artist and social choreographer known for his public practice. Pujol creates durational, silent, walking performances as complex portraits of people and places, inhabiting familiar landscapes and emblematic architecture that have nevertheless become invisible, aiming to reveal their psychic underlay, in the Jungian sense. Pujol draws from individual and collective memories and secrets through documented and undocumented, official and alternative narratives. Pujol is interested in contributing to greater individual and collective consciousness, to the notion of our interconnectedness and interdependence—our Oneness. He engages in scholarly research and psychic acuity (a perceptual term coined by writer Lewis Hyde) in the field. He trains citizens to perform communal, esthetic, mindful, transformative presence. Pujol has an undergraduate degree in Humanities and Visual Arts. He pursued independent graduate work in education, psychology, and communications. A recipient of numerous awards, he received an MFA in Studio Practice from SAIC. Pujol currently serves as performance instructor and thesis advisor in the low-residency MFA program in Art Practice the School of Visual Arts, NY, and the low-residency MFA program in Interdisciplinary Practice at the Hartford Art School, CT. Pujol is the author of Sited Body, Public Visions: silence, stillness & Walking as Performance Practice; as well as numerous published essays in collections such as Awake: Buddha Mind in Contemporary Art, Learning Mind: Experience Into Art, Fernwey: A Traveling Curator’s Project, and Lived Practice.
Caroline Woolard (b. 1984, Rhode Island) makes objects and systems at the intersection of art, technology, and the economy. Her recent project premieres include Carried on Both Sides at Lesley Heller, LMAK, and the Knockdown Center in New York; Listen at Wave Pool and the Contemporary Art Center in Cincinnati; and The Study Center for Group Work in Dakar at the Dakar Biennial. She is an Assistant Professor of Sculpture at the University of Hartford and a Mentor in MFA Fine Arts at the School of Visual Arts. She speaks internationally about art, design, technology, and economic justice.Project commissions include WOUND, Cooper Union, New York, NY; Capitoline Wolves; Cornell University, Ithaca, NY; and Exchange Café, MoMA, New York, NY. Her multi-year, collaborative systems include OurGoods.org (since 2008); TradeSchool coop (since 2009); BFAMFAPhD.com (since 2014); NYC Real Estate Investment Cooperative (since 2015). Recent critical writing about her work has appeared in Artforum, Art in America, and the New York Times. Woolard’s work has been supported by residencies at LMCC; NewInc; Pilchuck; MoMA; Queens Museum; and Watermill and through fellowships at Eyebeam; and the MacDowell Colony. Caroline Woolard’s work has been the subject of two documentaries on PBS for Art21.
Andy Coolquitt was born in Texas in 1964, and currently lives in Austin. Next Spring he will open a solo exhibition at the Museum of Contemporary Art Santa Barbara, in California. In the Summer of 2016, he produced a multi exhibition project titled Studio Art………..Period Room, while in residence at Artpace in San Antonio TX. In September 2014, Coolquitt presented his fourth solo exhibition at Lisa Cooley, Somebody Place. In April and May of 2014, Coolquitt was artist-in-residence at the Chinati Foundation in Marfa, Texas, which culminated with an exhibition, Multi-Marfa Room, at the Locker Plant in Marfa. In the Spring of 2014, Coolquitt had two major solo exhibitions, including This Much at Galerie Krinzinger in Vienna, Austria, and no I didn’t go to any museums here I hate museums museums are just stores that charge you to come in there are lots of free museums here but they have names like real stores at Maryam Nassir Zadeh in New York. Coolquitt is perhaps most widely known for a house, a performance/studio/domestic space that began as his Master’s thesis project at the University of Texas at Austin in 1994, and continues to the present day.
Ebony G. Patterson (Jamaican, b. 1981 Kingston), attended Edna Manley College, Kingston, Jamaica (BFA, 2004) and Sam Fox College of Design & Visual Arts, Washington University, Saint Louis (MFA, 2006). She has had solo exhibitions at The Studio Museum in Harlem, NY; Atlanta Center for Contemporary Art, GA; SCAD Museum of Art, Savannah, GA; Boston University Art Galleries; Museum of Art and Design, NY. Other projects include 32nd São Paulo Bienal; 12th Havana Biennial; Prospect.3, and Jamaica Biennial 2014. She was a 2017 Artist-in-Residence at the Rauschenberg Foundation, and a 2015 recipient of the Joan Mitchell Foundation Art Grant. Public collections include The Studio Museum in Harlem, NY; Museum of Art and Design, NY; Nasher Museum of Art, Durham, NC; Speed Museum, Louisville, KY; National Gallery of Jamaica, Kingston. In 2018, Patterson will present a solo exhibition at Perez Art Museum, Miami and at Monique Meloche Gallery, Chicago.
interactive course calendar
summer 2018 course descriptions
all visiting artists
Working within the historied language of abstract painting, Kent investigates how that language is understood amidst highly subjective cultural contexts. Kent’s painting practice is a constant pursuit of concretizing a language that speaks beyond the corridor of a traditional painting practice to engage subjects related to the moving image as well as the written word.
Caroline Kent earned her MFA from the University of Minnesota in 2008. Her work has been exhibited nationally at the California African American Museum, LA, The Suburban, Chicago, Unisex, Brooklyn and The Union For Contemporary Art, Omaha. She is the recipient of awards from the Jerome Foundation, the Pollock Krasner Foundation and the McKnight Foundation. Kent is co-founder of the Bindery Projects, an artist run exhibition space founded in Saint Paul, MN and is a current new fellow of Paint School, of the Shandaken Project, a residency program in New York’s Hudson Valley.