The progressive contemporary British artist David Ferry is a printmaker and photomontage specialist who has lectured and exhibited his works worldwide. After studying at the Blackpool College of Technology, he trained at the prestigious Camberwell School of Art and Crafts and the Slade School of Fine Art in London. His first solo exhibition was held at the 1984 International Contemporary Art Fair at London’s Barbican Centre, and he made his first significant U.S. debut in 2000 as a visiting professor at Southampton College, New York with an exhibition entitled David Ferry from the Window Seat at the Avram Gallery. In addition to his many lithographs and photomontages, Ferry’s oeuvre includes numerous artist books, some of which featured in the 1999 touring exhibition and catalogue Aspects of Our National Heritage. His abstract works frequently have a satirical edge, and the influence of his self-professed fascination with the surreal and the comical is particularly evident in those images representing his subjective interpretation of particular places and historical events. In 2002, he was awarded an important grant from the Pollock-Krasner Foundation. His work can be found at the Ashmolean Museum, Oxford; the Museum of Modern Art, New York; the Scottish Museum of march 27, 2012 calcia 135 2:30–4pm Montclair State University Modern Art; the Art Institute, Chicago; the Art Museum of Estonia; and in many corporate and university collections. He has had recent solo exhibitions in Berlin, Brighton, London, Seoul and Poznan. The following New York galleries hold stocks of Ferry’s works: Donald A. Heald, 217 East 60th Street, NY Brooklyn Artists Alliance, Greenpoint Ave, Brooklyn, NY.
Aaron Johnson is a painter based in Brooklyn. His reverse-painted acrylic-polymer-peel paintings inhabit the realms between the erotic-catastrophic/ecstatic-psychotic/comic-tragic, fusing diverse painting vocabularies into his own distinctive breed of Americana-grotesque, all rendered obsessively with tender brutality. Roberta Smith in The New York Times describes his works as "visceral, beautiful and flamboyantly timely, which is saying a lot." Johnson received his MFA from Hunter College, NY in 2005. His work has been exhibited internationally at such venues as Stux Gallery, New York; Hudson Valley Center for Contemporary Art, NY; Gallery Poulsen, Copenhagen; Gallery Brandstrup, Oslo; The Running Horse Contemporary Art Space, Beirut; and Kunsthalle Exnergrasse (Vienna). Johnson’s exhibitions have been reviewed in many publications including Modern Painters, Art News, Beautiful Decay, Kunst International, The Village Voice, and The New York Times. In 2007 he was awarded a Space Program grant from The Marie Walsh Sharpe Foundation, and is MacDowell Colony Fellow for 2012. His work is in the permanent collections of The Weisman Foundation and The Museum of Modern Art.
Drawing on the concept of the 'theoretical object', Pope will present a survey of his recent work, (and a glimpse into forthcoming projects) to identify ways in which the relationships between artist, participant and wider audience can be described in participatory art practice.
Veronica Roberts is a New York-based curator, writer, and Sol LeWitt scholar. She currently holds two positions—as Adjunct Associate Curator of Contemporary Art at the Indianapolis Museum of Art and as Director of Research for the Sol LeWitt Wall Drawing Catalogue Raisonné, to be published digitally by Artifex Press. Roberts first met LeWitt when she worked closely with the artist to coordinate his 2000 retrospective for the Whitney Museum in New York. Most recently, in the Spring of 2011, she guest curated the exhibition, Eva Hesse and Sol LeWitt for the Craig F. Starr Gallery in New York--the first show to look closely at the ways their decade- long friendship had a crucial impact on their lives and artistic practices.
Roberts previously worked in the Department of Painting and Sculpture at the Museum of Modern Art in New York, where she curated the 2010 exhibition, Lee Bontecou: All Freedom in Every Sense. She received her B.A. from Williams College and her M.A. from the University of California at Santa Barbara.
Drawing from an eclectic background that spans sculpture and performance, philosophy and behavioral science, Conley’s work is centrally concerned with the roots of social violence, the origins of language, and the possibility of meaningful communication even across radical divides—like that between human and animal. Conley is also interested in creating institutional structures, like co-founding Cabinet magazine and participating in the startup of a remote-teaching art program in Baghdad, Echo/Sada.
'Artists today don’t necessarily specialise in one medium but operate a form of multi-practice, whereby they move easily between video, digital photography, performance, installation or conceptual art works. Deanna Petherbridge examines the role and function of contemporary International drawing in this context and charts how it differs from more traditional usages and values, especially in relation to looking, recording, making and process.'
Professor Emeritus Deanna Petherbridge is presently Visiting Professor of Drawing at the University of the Arts, London and supervises PhD students. She is an artist whose practice is entirely drawing based and she has exhibited internationally and curated exhibitions on various themes including the uses of anatomy in art and currently on female stereotypes in witchcraft imagery. She is the author of The Primacy of Drawing: Histories and Theories of Practice, Yale University Press 2010 and has written and lectured internationally on issues related to drawing, sculpture and architecture.
Since the early 1970's, Beryl Korot has been a pioneer of video art and of multiple channel work in particular. She was co-editor of Radical Software (1970), the first publication to discuss the possibilities of the new video medium. Her first multiple channel works (Dachau, 1974 and Text and Commentary) were seen at such diverse venues as The Kitchen (1975), Leo Castelli Gallery (1977), Documenta 6 (1977), the Whitney Museum (1980 and 2002), The Carnegie Museum (1990) The Aldrich Museum (2010), among others. Her painted text-based handwoven canvases in an original language were exhibited in 1986 at the John Weber Gallery and in 1990 at the Carnegie Museum (Points of Departure). Two video/music collaborations with Steve Reich (The Cave, 1993, and Three Tales, 2002) brought video installation art into a theatrical context. Both works continue to be performed and have been installed, apart from live performances, at such venues as the Whitney Museum, the Carnegie Museum, the Reina Sofia, the Dusseldorf Kunstverein, and ZKM in Karlsruhe, Germany. Since 2003 she has been creating a new body of video and print work. These new works were exhibited most recently as part of a mini-retrospective at The Aldrich Museum (2010) and the Jaffe-Friede Gallery at Dartmouth College (2011).
Madeline Gins (born 1941) is an American artist, architect, and poet. Madeline Gins met her partner, the artist Arakawa, in 1963. Together, they founded the Architectural Body Research Foundation. They have designed and built residences (Reversible Destiny Lofts – Mitaka, Bioscleave House, Shidami Resource Recycling Model House) and parks (Site of Reversible Destiny-Yoro). They have developed an original theory and practice of the relation of the human being to the exterior world, elaborated most extensively in their book, Architectural Body. Arakawa and Gins are, together and separately, the authors of several books and exhibition volumes, most recently Making Dying Illegal.
Wendy White has had solo exhibitions at Leo Koenig in New York, Galeria Moriarty in Madrid, Van Horn in DĂźsseldorf, and Andrew Rafacz Gallery in Chicago. She has participated in group exhibitions at Harris Lieberman Gallery, Nicole Klagsbrun, Fredericks & Freiser, and John Connelly Presents, all in New York; Country Club Projects in Los Angeles; The Bemis Center in Omaha; Indianapolis Museum of Contemporary Art; CCA Andratx in Mallorca, Spain; Fred Gallery in Leipzig, Germany; Galerie Markus Winter in Berlin; Aschenbach & Hofland in Amsterdam; and Motus Fort in Tokyo. Her work has been reviewed in Artforum, Art in America, The New York Times, Artpapers, Time Out New York, New York Magazine, and The Brooklyn Rail. White holds a MFA from Mason Gross School of the Arts at Rutgers University, and a BFA from The Savannah College of Art & Design. She received a 2008 grant from The Artistsâ Fellowship in New York, a 2005 George Segal Painting grant, and the Marie Walsh Sharpe Foundation studio grant in 2004. Her work is included in Vitamin P2: New Perspectives in Painting, published by Phaidon. White is represented by Leo Koenig and lives in New York City.
Graham Parker is an artist and writer based in New York City. His multimedia art work is influenced by moments of failure or stress in electronic communications and culture and in turn the historic failures they echo. In much of the work there is a strong and recurring interest in the visual systems for depicting and distributing 'text'. Parker is particularly interested in the contemporary "illegitimate language" of spam and its historical antecedents (from Medieval slang to 19th century con artists). He is the author of a book on this subject - Fair Use (notes from spam), published by Book Works. Parker is currently working on a second book project - a cultural history of a 2004 message board thread - as well as working on an ongoing film series based on the 1973 movie "The Sting" and a series of works utilizing hacked ATMs.
Major projects include commissions by the Experimental Media and Performing Arts Center (EMPAC) The Foundation for Art and Creative Technology, Centre for the Understanding of the Built Environment, Sketch London, Lower Manhattan Cultural Council, Henry Moore Institute and Tate Gallery Liverpool amongst others. Graham Parker's work has been shown throughout the UK, Europe and USA in both solo and group shows, performances and talks, as well as featuring in public and private collections worldwide. He has written for several art publications as a reviewer and essayist and is also a sports correspondent for The Guardian newspaper. www.grahamparker.info
Carl Schoonover is a neuroscience PhD candidate at Columbia University, and the author of Portraits of the Mind. He has written for The New York Times, Le Figaro, The Huffington Post, Science Magazine, Scientific American, Design Observer, LiveScience, Boing Boing, Commentaire, and cofounded NeuWrite, a collaborative working group for scientists, writers, and those in between. He hosts a radio show on WKCR 89.9FM, which focuses on opera, classical music, and their relationship to the brain. He currently lives in New York City and works on microanatomy and electrophysiology of rodent somatosensory cortex in the Bruno laboratory at Columbia University Medical Center. He is represented by The Wylie Agency.