Category Archives: Academic

Colette Gaiter

Colette Gaiter, Associate Professor of Visual Communication, Department of Art & Design, University of Delaware.

After working in graphic design for ten years in Pittsburgh, Washington, DC and New York, she became an educator, artist and writer. She has exhibited her work internationally and in galleries, museums and public institutions in the United States such as the Contemporary Arts Museum of Houston, Studio Museum in Harlem, and the Pennsylvania Academy of the Fine Arts.

As a pioneer in new media art since 1982, she presented and exhibited her work at SIGGRAPH, ISEA, and other new international new media venues. Currently her work remains interdisciplinary—from artist books to mixed media sculptural objects and textiles, usually including digital imagery.

Her writing on former Black Panther artist Emory Douglas’s work appears in the monograph Black Panther: The Revolutionary Art of Emory Douglas, and West of Center: Art and the Counterculture Experiment in America, 1965-1977, among other publications. Since 2004, she continues to write about Douglas’s work including his current international human rights activism. She wrote the introduction to the second edition of his monograph, published in 2011.

An essay on Cuban artists in The African Americas: A Collaborative Project on the African Diaspora in the Cultures of Latin America, the Caribbean, and the United States reflects her many visits to the island to study art, design and culture.

Putting her interest in socially engaged art into practice, she initiated two community projects in Wilmington, Delaware— Urban Garden Cinema in 2012 and The Beauty Shop Project, currently underway.
Here are more links to writing and information on Emory Douglas online; Black Panther: The Revolutionary Art of Emory Douglas,  West of Center Art and the Counterculture Experiment in America, 1965–1977 “The Revolution Will Be Visualized: Black Panther Artist Emory Douglas.” From the Black Panthers to Black Lives Matter, Fifty Years of Activist Art by Emory Douglas. Black Panthers and Black Lives Matter – parallels and progressChicago 1969: When Black Panthers aligned with Confederate-flag-wielding, working-class whites.

Visualizing a Revolution: Emory Douglas and The Black Panther Newspaper, AIGA Journal: The Professional Association for Design.

Please Note – Correction to the interview Don Mulford was a California Assemblyman who introduced the gun control bill in response to the Black Panthers. She mistakenly said that Mulford was the Attorney General. 

Emory Douglas © 2015 / Emory Douglas / Artists Rights Society, New York Black Lives Matter Original image, 1976

Colette Gaiter ©2016, Elect/ricity Artist book, 9 x 12 inches

Laurie Palmer

Hohenmolsen coal mine, outside Leipzig, Laurie Palmer is on the right with camera.

Laurie Palmer is an artist, writer, and teacher currently employed in the Art Department at the University of California, Santa Cruz. Her work, which takes form as sculpture, installation, writing, and public art, is concerned with material explorations of matter’s active nature as it asserts itself on different scales and in different speeds, and with collaborating on strategic actions in the contexts of social and environmental justice.

Palmer collaborated with the artist group Haha for 20 years on site- and community-based projects, and more recently, with Chicago Torture Justice Memorials (CTJM), which helped win historic reparations legislation for African Americans tortured by Chicago police. Her book In the Aura of a Hole: Exploring Sites of Material Extraction (Black Dog, London, 2014) investigates what happens to places where materials are removed from the ground, and how these materials move between the earth and our bodies. The Lichen Museum is a work in progress.

Lichen Walk, 2015, Sector 2337 Chicago

Hole, 2010 – 2016

Beti Žerovc

16210_309083115873617_1059417556_nBeti Žerovc is a Slovene art historian and art theorist. She teaches on Slovene art from 1800 until today at the Faculty of Arts/University of Ljubljana.

Her areas of research are visual art and the art system since the mid-nineteenth century, with a focus on their role in society. In the past ten years her research has concentrated mainly on the phenomena of the contemporary art curator as a profession in the process of establishing itself and the contemporary art exhibition as a medium.


Žerovc conceptualized and organized various scientific meetings, among other: Exhibition as the Artistic Medium, Curator of Contemporary Art as the Artist. The Changing Statuses of the Exhibition and the Curator in the Field of Contemporary Art (Igor Zabel Association, 2010), The Event as a Privileged Medium in the Contemporary Art World (International Centre of Graphic Arts, Ljubljana, 2011). In 2011 she curated the 29th Biennial of Graphic Arts in Ljubljana, titled The Event.

Žerovc is the author of numerous articles, as well as several books, among other: The Curator and Contemporary Art: Conversations (Maska, 2008; in Slovene), and Curatorial Art: The Role of the Curator in Contemporary Art (Znanstvena založba Filozofske fakultete, 2010; in Slovene). In 2012 Žerovc edited The Event as a Privileged Medium in the Contemporary Art World (Maska, for the electronic English version use this link.

For further reading, read the following online; The Curator and the Leftist Politicisation of Contemporary Art as well as the beginning of the book by Žerovc,  When Attitudes Become the Norm The Contemporary Curator and Institutional Art.

Robert Lyons

ral-2-copyRobert Lyons lives and works in Berlin, Germany and New York State. He has taught extensively in the USA and Europe at various institutions including: Emily Carr College of Art & Design, University of Washington, Photographic Center Northwest, International Center of Photography, and the Ostkreuzschule in Berlin. He received a M.F.A. from Yale University in 1979.  Lyons has received numerous awards for his work including: NEA Survey Grant, Ford Foundation Grants, and most recently a MacDowell Residency 2009. His work has been widely exhibited in the United States and Europe and is represented in numerous permanent collections including:  The Metropolitan Museum, Seattle Art Museum and the University of Washington – Henry Art Gallery, Microsoft Corporation, Hallmark Collection of Photography, Nelson-Atkins Museum, and Beth Hatefutsoth Museum of the Diaspora, Tel Aviv, Israel.

Robert Lyons currently directs the HAS International Limited-Residency MFA Photography Program at the University of Hartford. He is also a visiting lecturer at the Ostkreuzschule in Berlin.

His published books include:  Egyptian Time, Doubleday -1992, Another Africa, Bantam Dell Doubleday – 1998, The Company of Another, – Galerie Michael Schultz Berlin -2003, and Intimate Enemy: Voices and Images from the Rwandan Genocide-Zone Books 2006. His website is here.



Anne-Marie Oliver / Barry Sanders


Anne-Marie Oliver & Barry Sanders

Anne-Marie Oliver is a cultural theorist, photographer, and documentarian, whose projects occur at the intersection of art, religion, politics, and technology. Her work can be found in Critical Inquiry, Partisan Review, The International Journal of Comparative Sociology, and Public Culture, the Bulletin of the Center for Transnational Cultural Studies, the University Museum, the University of Pennsylvania, as well as Salon, The New Republic, and Le Monde diplomatique. She spent many years doing fieldwork and research in the Middle East, collecting and documenting the art, political ephemera, and underground media of the first intifada—work supported by the H.F. Guggenheim Foundation and, later, Harvard’s Center for Middle Eastern Studies. The result of that research was published by Oxford University Press in 2004 as The Road to Martyrs’ Square (with Paul F. Steinberg), and was a Quill Award nominee. She has given lectures at Columbia, Princeton, Stanford, the Carnegie Council for Ethics in International Affairs, the Muriel Gardiner Seminar on Psychoanalysis and the Humanities at Yale, Tufts, USC, and Harvard; and has appeared as a discussant on CNN, National Public Radio, the BBC, MSNBC, Air America, and Fresh Air with Terry Gross. Her current projects address the role of art and aesthetics in the 21st century, particularly in relation to invisible catastrophe; surveillance, proto-surveillance, and the experience of time; and notions of the intervention. She has carried out various art projects, individual and collective, at the Portland Institute for Contemporary Art’s TBA Festival, PDX Contemporary Art, and galleryHOMELAND, among others, and, in 2011, closed out the Visiting Artist Lecture Series at the Mason Gross School of Art at Rutgers. In 2013, she curated the show Infinity Device with Barry Sanders at the Historic Maddox Building in Portland, Oregon. She has taught at MIT, Georgia Tech, and the Hebrew University of Jerusalem, and has served as a guest critic at CalArts, the Tisch School of the Arts, NYU, and the University of the Arts London, among others. Along with Barry Sanders, she founded the MA in Critical Theory and Creative Research Program at the Hallie Ford School of Graduate Studies, Pacific Northwest College of Art, and now directs the Oregon Institute for Creative Research/E4 (Ethics, Æsthetics, Ecology, Education), a new school and research institute.

Barry Sanders’ projects occur increasingly at the intersection of art and activism, and include The Green Zone: The Environmental Costs of Militarism, which Project Censored named one of the top-ten censored stories of 2009, and “Over These Prison Walls,” which invites collaborations between artists and incarcerated youth. He has twice been nominated for the Pulitzer Prize and is the author of fourteen books and over fifty essays and articles, including Sudden Glory: A Brief History of Laughter, Alienable Rights: The Exclusion of African-Americans in a White-Man’s Land, 1619-2000 (with Francis Adams), ABC: The Alphabetization of the Popular Mind (with Ivan Illich), The Private Death of Public Discourse, and A Is for Ox: The Collapse of Literacy and the Rise of Violence in an Electronic Age. His book-art projects include a collaboration with printmaker Michael Woodcock, Fourteen Ninety Two or Three, which won Honorable Mention in the Carl Hertzog Awards Competition for Excellence in Book Design, while his 2002 essay for Cabinet, “Bang the Keys Softly: Type-Writers and Their Dis-Contents,” has been reprinted in Courier (University Art Museum, SUNY) as well as Ghost in the Machine (New Museum). He has given presentations at the Los Angeles County Museum of Art (with Ivan Illich); the J. Paul Getty Museum; and the Portland Art Museum, among many others, and in 2013, curated the show Infinity Device with Anne-Marie Oliver at the Historic Maddox Building in Portland, Oregon. He was the first to occupy the Gold Chair at Pitzer College, where he taught, among other things, the history of ideas and medieval church iconography. Along with Anne-Marie Oliver, he founded the MA in Critical Theory and Creative Research Program at the Hallie Ford School of Graduate Studies, Pacific Northwest College of Art, and now directs the Oregon Institute for Creative Research/E4 (Ethics, Æsthetics, Ecology, Education), a new school and research institute.


Atta Kim, Caldera


CT+CR Collective 2016, 4755.8 (Casting Our Glances across These Shores towards Fukushima-Daiichi on the 5th Anniversary of the Pacific Disaster)

Tirza Latimer

TL, UCPauthorportraitTirza True Latimer is Associate Professor and Chair of the Graduate Program in Visual and Critical Studies, California College of the Arts, San Francisco. Her published work reflects on modern and contemporary visual culture from queer feminist perspectives.

She is co-editor, with Whitney Chadwick, of the anthology The ModeEccentricModernisms_COVERrn Woman Revisited: Paris between the Wars (Rutgers University Press, 2003) and the author of Women Together / Women Apart: Portraits of Lesbian Paris (Rutgers University Press, 2005).

She is co-author, with Wanda Corn, of Seeing Gertrude Stein: Five Stories (University of California Press, 2011), companion book for an exhibition organized by the Contemporary Jewish Museum, San Francisco, in partnership with the National Portrait Gallery, Washington D.C.

Her latest book, Eccentric Modernisms: Making Differences in the History of American Art, forthcoming from UC Press, builds on archival research conducted for the Stein exhibition and book.


Florine Stettheimer, Portrait of Virgil Thomson, 1930.

Claire Hopkinson

claire_2016Since her appointment to Toronto Arts Council and Toronto Arts Foundation in 2005, both organizations have experienced significant growth in funding and impact, innovation in strategy and delivery, and greater understanding of their roles in the community. Early in her tenure she developed the direction Creative City Block, Block by Block, an overarching vision to have the arts accessible by all Toronto residents.

A graduate of McGill University in English Literature (Honours), Claire then spent approximately 25 years commissioning, developing and producing works of opera and theatre, and running several arts organizations. An agent of change, she was instrumental in moving contemporary opera from the outskirts of the field to the revitalised centre. Claire also invested considerable time and energy into developing support for and getting Canadian artists onto international stages. Her evolution into policy maker and advocate – from arts producer – was a logical progression from her volunteer work as Founding Chair of, Vice Chair of Opera America, and co-founder and President of Creative Trust. She is committed to the value of collaboration and to developing partnerships across sectors to deepen the impact of the arts.

Much of the impetus for Claire’s work in cultural policy is to understand and communicate the impact  of the arts in society, and most particularly the vital role of that the arts play in city building in the culturally vibrant city of Toronto. In May of 2001, Claire won the national M. Joan Chalmers Award for Arts Administration in recognition of her contribution to Tapestry New Opera and the arts in Canada. In 2006 she was recognized by Theatre Ontario with the Sandra Tulloch Award for Innovation in the Arts. She served as Co-Chair for the International Society for the Performing Arts 2011 Annual Congress in Toronto, which attracted the largest gathering of arts presenters in ISPA’s history.

Claire Hopkinson was interviewed by Kristen Fahrig for this edition.


Michaela Wüensch​

stillpoint1Michaela Wünsch has taught Media Studies at Universität Wien, Freie Universität and Humboldt Universität in Berlin, Universität Potsdam, and University of California Riverside. From 2012-2015 she conducted a research project on repetition in psychoanalysis and television as Marie-Curie-Fellow at UC Riverside, UCLA and Universität Potsdam. She is a founding member of the publishing collective b_books and serves as the president of the Psychoanalytic Library Berlin, a space for psychoanalytic research and practice.

Publications include Im inneren Außen. Der Serienkiller als Medium des Unbewussten (Berlin: Kadmos, 2010), the edited volumes Angst. Lektüren zu Jacques Lacans Seminar X  (Wien: Turia+Kant, 2012) and Techniken angst_coverder Übereinkunft. Zur Medialität des Politischen (Berlin: Kadmos, 2009, with H. Blumentrath, K. Rothe, S. Werkmeister, and B. Wurm); FeMale HipHop. Realness, Roots und Rap Models (Mainz: Ventil 2007, with Anjela Schischmanjan), and Outside. Ein Reader zur Politik queerer Räume (Berlin: b_books 2005, with Matthias Haase and Marc Siegel).

Science and Psychoanalysis: Entropy from Freud to Lacan

The aim of this project is to analyse the status of science, and especially of physics and mathematics, in psychoanalysis. The project argues that the use of sciendiss_covertific models and theories by the psychoanalysts Sigmund Freud (1856-1939) and Jacques Lacan (1901-1981) did not constitute an effort to establish psychoanalysis as a science, but has to be considered a reflection of the scientific discourses prevalent during their respective lifetimes and furthermore as an intervention into science which aimed to modify the concept of ‘science’ itself. Psychoanalysis has always been situated at the margins of the sciences and humanities: its status was questioned from the beginning; the speculative character of Freud’s and Lacan’s writings violate and provoke scientific norms while deliberately risking failure within disciplinary boundaries. Nonetheless, the project wagers that Freud’s and Lacan’s interest in science and especially in the notion of entropy in thermodynamics offers a possibility to think the real. As Geneviève Morel suggests, science ‘is concerned with the real, and even more precisely, with finding some knowledge in the real’. What is called ‘entropy’ in thermodynamics as well as in information theory promises a possibility for measuring contingency and probability and is therefore of interest for a psychoanalytic approach to what is called the ‘real’ in psychoanalysis. The question is not if there is anything scientific about the ‘babbling practice’, but if psychoanalysis uses formal science, its calculative thinking, in form of scientific-style formalizations, topology and algebra to discover logic in the illogical (Adrian Johnston), to develop a materialist theory of subjectivity, or to grasp the moment in the singular analytic experience where the subject evades scientific logic.

Linda Earle

LInda picLinda Earle is an arts administrator educator, writer, grant-maker, and advocate of arts and social justice.    She is currently the Executive Director of the New York Arts Program an off campus study program serving undergraduates nationally in the visual, performing and media arts, writing and journalism. Before joining NYAP she served as the Executive Director of Program at the Skowhegan  residency one of the nation’s leading organizations for emerging visual artists.  Earle was a Senior Program Director for the NY State Council on the Arts(NYSCA) where the multi-disciplinary Individual Artists Program was established under her direction.

She has taught Film and Cultural Theory at Barnard and Hunter Colleges and at Rutgers University’s Mason Gross School of the Arts. and has curated visual arts and film exhibitions.    She  has a long-standing interest in the intersection of art and social justice serves on the Boards of Art Matters a foundation that supports artists who break new ground aesthetically and engage social issues,  and Inclusion in the Arts which  advocates and promotes authentic dialogue about race, culture, and disability in theatre, film and media.  She also serves on the Board of the Jerome Foundation which supports emerging artists.   As a writer she has participated in residency programs at Hedgebrook and the Writers’ Room.

Earle received her BA in Film Studies from Hampshire College; and an MFA in Film from Columbia University where she also studied painting, art history, and architectural history.

Currently Reading: Robin Coste Lewis’ Voyage of the Sable Venus

Dr. Jane A. Sharp

J CallanaishDr. Sharp is Associate Professor of Art History at Rutgers University where she teaches art of the 20th and 21st centuries, Russian avant-garde and Soviet unofficial art, and acts as Research Curator of the Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union at the Zimmerli Art Museum at Rutgers. Her curatorial work focuses on Soviet unofficial art, and includes a forthcoming exhibition of Moscow Conceptual art. In 2007 her book, Russian Modernism between East and West: Natal’ia Goncharova and the Moscow Avant-Garde, 1905-14 (Cambridge University Press, 2006) won the 2007 Robert Motherwell Prize from the Dedalus Art Foundation. Studies of Soviet era unofficial art have appeared in anthologies published by the Victoria and Albert Museum (London, 2008), Yale University Press (2008) and Brill Academic Press (2015). She is currently completing a book manuscript on abstract painting in Moscow during the Thaw, and curating an exhibition “Thinking Pictures: Moscow Conceptualism in the Dodge Collection, Zimmerli Art Museum, at Rutgers University (opens September 20, 2016)

Prior to her appointment at Rutgers, Dr. Sharp was Assistant Professor in the Department of Art History and Archaeology at the University of Maryland, College Park, and Associate Project Curator at the Solomon R. Guggenheim Museum where, from 1988-92, she managed and co-curated The Great Utopia: Art of the Russian and Soviet Avant-Gardes, 1915-32 for venues in Frankfurt, Amsterdam, New York, St. Petersburg, and Moscow. She has been on the advisory council of the Kennan Institute for Advanced Russian Studies at the Woodrow Wilson Center for International Scholars, and currently serves as board member (at large) for the Association of Slavic, East-European and Eurasian Studies. Her recent fellowships include a National Endowment for the Humanities grant for research at the National Humanities Center, Research Triangle Park. She is currently a fellow at the Center for Cultural Analysis at Rutgers University.

Thomas Dreher

7_Biografie_B1Thomas Dreher studied since 1978 art history, philosophy and classical archeology at the Ludwig-Maximilians-University in Munich. Since 1985 he has written articles, critiques and reviews for art magazines (“das kunstwerk” , “Artefactum”, “Artscribe”, “Wolkenkratzer”, “Kunstforum” etc.)

The following links are directed to his writing.

1986-1987 scholarship of Lower Saxony for the Central Institute for Art History (Zentralinstitut für Kunstgeschichte) in Munich. 1988 doctorate (thesis on “Conceptual Art in America and England 1963-1976”, Peter Lang, Frankfurt a. M. 1992, in German). 1991 participation in “Kunst als Grenzbeschreitung: John Cage und die Moderne/Art as a Means to Walk on Limits: John Cage and Modern Times”, Staatsgalerie moderner Kunst/State Gallery for Modern Art, Munich. 1995-2000 preparations for and completion of “Performance Art since 1945: Action Theater and Intermedia” (Munich 2001, in German) as a part of the DFG (German Research Foundation)-Project “Das Problempotential der Nachkriegsavantgarden/The Problem Potential of the Postwar Avant-gardes” (supervisor and co-editor: Prof. Georg Jäger).

Since December 1999: Lessons in NetArt for IASL (International Archives of Social History of German literature) online (site of the Ludwig-Maximilians-University, Institute of German Philology, Munich). 2007 Prix Ars Electronica (in cooperation with the Ludwig Boltzmann Institute Medien.Kunst.Forschung), Linz: Media.Art.Research Award: The website “IASLonline Lessons in NetArt” receives an “Acknowledgement of a Contribution to the Field” (in 2007: network-based art forms). From October 2011 to December 2012 “History of Computer Art” was published chapter by chapter (IASLonline Lessons in NetArt: Theory). The English translation followed from August 2013 until June 2014 (PDF). January 2015: Curator of “Viennese Actionism and Action Theater in Munich“: 2 lectures (Oliver Jahraus, Thomas Dreher), 2 actions (FLATZ, Alexeij Sagerer & proT). Event in the Academy of Fine Arts, Munich.

Key activities: Intermedia Art, esp. Performances, Conceptual and Context-Reflexive Art, Computer Art, NetArt.

Texts on Thomas Dreher: Intermedia Art and, slides on SlideShare, pinboards on Pinterest, informations and tips on Facebook.

He lives in Munich.


John Hutnyk

John and TheodorJohn Hutnyk writes on culture, cities, diaspora, history, film, prisons, colonialism, education, Marxism. He studied and taught in Australia at Deakin and Melbourne Universities; and in the UK in Manchester University’s Institute for Creative and Cultural Research; before moving to Goldsmiths in 1998, and becoming Academic Director of the Centre for Cultural Studies in 2004-2014. He has held visiting researcher posts in Germany at the South Asia Institute and Institute for Ethnologie at Heidelberg Universpantoity, and Visiting Professor posts in InterCultural Studies at Nagoya City University Japan, Zeppelin University and Hamburg University, Germany, Sociology at Mimar Sinan University, Istanbul, Turkey and at the Graduate institute for Social Research and Cultural Studies, National Chiao Tung University, Taiwan. Adjunct Professor of RMIT University, Melbourne.

Bad marxismHis books include: “The Rumour of Calcutta: Tourism, Charity and the Poverty of Representation” (1996 Zed); “Critique of Exotica: Music, Politics and the Culture Industry” (2000 Pluto Press); “Bad Marxism: Capitalism and Cultural Studies” (2004 Pluto); “Pantomime. Terror: Music and Politics” (2014 Zero); and co-authored with Virinder Kalra and Raminder Kaur: “Diaspora and Hybridity” (2005 Sage). He have edited several volumes of essays, including “Dis-Orienting Rhythms: the Politics of the New Asian Dance Music” (1996 Zed, co ed with Sharma and Sharma); “Travel Worlds’ (1998 Zed co-ed with Raminder Kaur); editions of the journals ‘Theory, Culture and Society’ and ‘Post-colonial Studies’, and both a festschrift for Klaus Peter Koepping called “Celebrating Transgression” (2006 Berghahn, co-ed with Ursula Rao) and the phd colloquium volume “Beyond Borders” (Pavement books 2012). Next books = Global South Asia, Trinketization, Capital and Cultural Studies, Proletarianisation.

Lynn Gamwell

LynnGamwell-photoLynn Gamwell teaches the history of art, science, and mathematics at the School of Visual Arts in New York. Her books include Dreams 1900-2000: Science, Art, and the Unconscious Mind (Cornell, 2000), which was awarded the Gradiva Prize (for “Best Historical Writing”) by the National Association for the Advancement of Psychoanalysis.

She has described the impact of science on modern art, Exploring the Invisible: Art, Science, and the Spiritual (Princeton, 2002), which was an Editor’s Choice of Scientific American and named a “Book of the Year” by George Steiner for The Times Literary Supplement.

Her most recent book is Mathematics + Art: A Cultural History (Princeton, 2016).

Emmanuelle Glon

Glon-E-3ansEmmanuelle Glon is currently working as scientific project manager in the School of Advanced Studies in Social Sciences in Paris (France). She received her PhD degree on philosophy of mind from University of Paris IV Sorbonne and Institut Jean Nicod in Winter 2004. Following her D.Phil she has been post-doc researcher in Queen’s College of Oxford, and then in the Berlin School of Mind and Brain (Humboldt Universität, Germany). In the same time, she was member of Centre Marc Bloch where she worked on the cinema industry and techniques in Nazi Germany.

Her research and publications in philosophy are mainly in three broad areas: (1) Pictures and Perception (2) Imagination, Fiction and Ethics (3) Art and empathy. Her last publication in English: “What movies say about the mind: Neuroscience, Intentional Action  and Rotoscopy”, Pragmatism Today, vol. 5, issue 2, Winter 2014. Her book: Cinéma dans la Tête. L’esthétique du film à la lumière des neurosciences, Bern, 2011. 196 p.

Not long ago, she presented sometimes his experimental videos in little French festivals. She hopes that she’ll be able to do it again.

Here is an extract of “Azote Blonde” (2011) in Festival “Images Contre Nature” (Marseille, France, 2012). Not just a biological constraint or a racist joke, the blonde girl sums up the long pop history of women in cinema.