Art Now! Lecture Series

The lecture series brings artists, curators, researchers, and practitioners to Columbia to give students exposure to the rich range of perspectives, practices, and professional pathways possible for the contemporary creative.

Fall 2021 Schedule

The fall 2021 series will be conducted online, via Zoom webinar. The spring 2022 series modality is yet to be determined.

Register here to attend events in the fall series.

All lectures are free and open to the public. American Sign Language interpretation will be provided in the Zoom webinar. Past lectures can be viewed here.

Events are Wednesdays, 6:00–7:30 pm Central time.

  •  9/22/21 - Adam Brooks, in conversation with Corey Postiglione 

    Freedom Wall by Adam Brooks

    (left) Adam Brooks, Freedom Wall, 1994, enamel on vinyl, 72 feet x 15 feet 6 inches, permanent publicly-sited installation, Chicago. Courtesy of the artist. (right) photo: Nathan Keay

     

    Public Art: Which Public, Whose Art?

    Adam Brooks discusses his 35 years of engaging the accidental, unwitting, and sometimes resistant audience to art in the public sphere. He will focus on selected examples of his public work, as well as addressing the larger question of what the efficacy of public art is, and how that is measured. He will also include a few examples of public work by other artists, work that is successful and work that has failed. After the presentation, he will be in conversation with colleague, Corey Postiglione.

    Adam Brooks is an artist, educator, and curator based in Chicago. His work, executed in many different media, explores issues of language, power, information, socio-politics and communication. He has participated in numerous group shows both nationally and internationally, and has had one- person shows at the Museum of Contemporary Art, Chicago and at galleries in Chicago, New York, and Houston. His work is in the collections of the Art Institute of Chicago and the Museum of Contemporary Art, Chicago, as well as in many private collections. Since 2003, he has also been one half of the collaborative project Industry of the Ordinary with Mathew Wilson. Through sculpture, text, photography, video and performance, Industry of the Ordinary is dedicated to an exploration and celebration of the customary, the everyday, and the usual. Their emphasis is on challenging pejorative notions of the ordinary and, in doing so, moving beyond the quotidian. Their projects exist in temporal terms but have also been conceived to function on the web site associated with the collaboration, www.industryoftheordinary.com.

  • 10/06/21 - Zoë Charlton

    The Country A Wilderness Unsubdued by Zoe Charlton

    (left) Zoë Charlton, The Country A Wilderness Unsubdued, 2018, graphite, acrylic paint and collage on paper on wall (installation), 112" x 55". Courtesy of the artist. (right) photo: E. Brady Robinson

     

    Zoë Charlton: references, objects, and praxis

    In her large-scale drawings and installations, Zoë Charlton relies on the narrative potential of bodies, objects, and landscape elements to depict her subject’s relationship with their world. Her artist conversation will discuss the references and influences used in making three distinct series and her current project.

    Zoë Charlton (Baltimore, MD) creates drawings, collages, installations, and animations. Charlton received her MFA degree from the University of Texas at Austin. Residencies include Artpace Residency (TX), McColl Center for Art + Innovation (NC), and the Skowhegan School of Painting & Sculpture (ME). Exhibitions include the Harvey B. Gantt Center (NC), Crystal Bridges Museum of American Art (AR), Studio Museum of Harlem (NY), Contemporary Art Museum (TX), and the Zacheta National Gallery of Art (Poland). Museum collections include The Phillips Collection (DC), Birmingham Museum of Art (AL), and Studio Museum (NY). Charlton is a Professor of Art at The American University in Washington, DC. She holds a seat on the Maryland State Arts Council, is a board member at the Washington Project for the Arts (DC), and is co-founder of ‘sindikit, a collaborative art initiative.

  • 10/20/21 - Dalziel + Scullion 

    Rosnes Bench by Dalziel + Scullion

    (left) Dalziel + Scullion, Rosnes Bench, 2014, cast jesmonite structure, Kirroughtree, Dumfries & Galloway Forests. Courtesy of the artists. (right) Photo: Louise Scullion

     

    HOMING

    In their talk Matthew Dalziel and Louise Scullion will present five of their works which are often realized through a diverse range of mediums (for example: cast stone, tailored garments, short films, and artists field guides). In almost 30 years of running their collaborative practice, their focus has rarely diverted from the subject matter of Nature and how and where this enters into our 21st-century lifestyles. Their work explores the ways in which modern forms of life and technologies shield us from nature’s harsher aspects, yet distance us from it and the recognition that “spaceship earth” is the only home we have.

    Matthew Dalziel and Louise Scullion are Scottish-based artists who work with sculpture, photography, video, and sound to explore new ways to engage with the subjects of the environment and ecology. Dalziel + Scullion have been selected for national and international exhibitions including the British Art Show and the Venice Biennale and have received awards and prizes including the Saltire Society Award for Art in Architecture, the Saltire Society Award for Art in Public Places, the Eco Prize for Creativity and were short-listed for the international Artes Mundi Prize. In 2018 they completed their residency as the John Muir Fellows, publishing their artists guide to reconnecting with nature titled Homing. Dalziel + Scullion’s work has been included in many publications, articles and magazines concerning Art & Nature and Art & Landscape including the seminal survey books Land Art, published by Tate Publishing and L’Artiste Contemporain Et La Nature, published by Hazan. They have three books published on their own work: HOME published by The Fruitmarket Gallery 2001, More Than Us published by Scottish Natural Heritage 2009 and HOMING published by North Light Arts John Muir Residency 2018. For more on their work, see www.dalzielscullion.com

  • 11/03/21 - Jorge Lucero

    Double Salinger for the Pluriversity by Jorge Lucero

    Jorge Lucero, Double Salinger for the Pluriversity, 2021, digital image. Photos courtesy of the artist.

     

    Conceptual Art & Teaching: An Impossible Practice of Invisibility

    What material is teaching that informs a one-of-a-kind conceptual art practice? For more than 25 years, Jorge Lucero has been poking at this question to varying degrees of success. All the while Lucero has been parceling out various findings from this lifelong inquiry. In this presentation, he will show insufficiently representative tidbits of this practice including documentation from participatory and collaborative works, iterative practice, performance, and writing.

    Jorge Lucero is an artist born, raised, and educated in Chicago. He currently serves as Chair and Associate Professor of Art Education at the University of Illinois, Urbana-Champaign. Lucero has exhibited, performed, and taught all over the U.S. and abroad. He is the author of numerous peer reviewed articles and chapters in books and journals. Lucero’s books include Mere and Easy: Collage as a Critical Practice in Pedagogy, Teacher as Artist-in-Residence: The Most Radical Form of Expression to Ever Exist, and the forthcoming What Happens at the Intersection of Conceptual Art and Teaching?. He received his degrees from the School of the Art Institute of Chicago and Penn State University. Since 2014, Lucero serves as the co-editor of the international journal Visual Arts Research.

  • 11/17/21 - Conor Moynihan

    Plate 8 by William Horgarth

    (left) William Hogarth, Plate 8 from the series A Rake’s Progress, 1735, etching and engraving on paper, image/plate: 35.4 x 40.6 cm (13 15/16" x 16"). Purchased and presented by George P. Metcalf. RISD Museum, Providence, R.I. (right) photo: Kiam Marcelo Junio

     

    Cripping the Collection: Histories and Representations of Disability and Illness in the RISD Museum

    What can be learned from searching for disability and illness in an art collection? Moynihan addresses this question in a discussion revealing the origins and development of his forthcoming exhibition Representing Disability and Illness: From Moralism to Pride. Working from the RISD Museum collection, he considers how and when disability and illness are depicted, and why. Moving from representations of the disabled body that were meant to be moralizing and stigmatizing to activism in works by contemporary artists who bring their lived experiences into the work, the exhibition aims to crip the types of stories permanent art collections can tell.

    Conor Moynihan is the Andrew W. Mellon Curatorial Fellow in the Prints, Drawings, and Photographs Department at the RISD Museum and a Visual Studies PhD Candidate at the University at Buffalo. His areas of interests include modern and contemporary art, art criticism, performance, queer art, and disability studies. He has curated exhibitions in Vancouver, BC; Buffalo, NY; and Brooklyn, NY. He is currently working on two forthcoming permanent collection exhibitions, Representing Disability and Illness: From Moralism to Pride and Perception and Presence in Contemporary Drawing, at the RISD Museum in spring 2022.

Spring 2022 Schedule

  •  2/09/22 - Lorenzo Triburgo

    Venus by Lorenzo Triburgo and Sarah Van Dyck

    Lorenzo Triburgo and Sarah Van Dyck, Venus, 2020, 48" x 32", archival pigment print on Moab Baryta paper. Courtesy of the artist.

     

    Shimmer Shimmer: Trans*queer Glitter

    Through performance, photography, video and audio Lorenzo Triburgo, often with their partner and collaborator Sarah Van Dyck, explores intersections of trans*queer existence and the complexities of visual representation. Their approach is critical yet playful, with a practice that values process alongside form and content. From painting oversized “Bob Ross, The Joy of Painting,” landscapes as backdrops for trans portraits, to standing in place before the Stonewall Inn for 24 hours, and most recently ceasing to take testosterone after 10 years of transgender “hormone therapy” as a performative attempt to embody gender abolition, their interdisciplinary methods weave personal experiences with political moments and theoretical concerns with calls for action and hope for a liberated future.

    Lorenzo Triburgo is a Brooklyn-based artist employing performance, photography, video, and audio to elevate transqueer subjectivity and cast a critical lens on notions of the “natural.” They often use a bright palette and a playful campiness to flip conventional power dynamics that exist between artist, subject, and outside viewer. They were a 2019 Workspace Resident at Baxter St/CCNY and an AIM Fellow at the Bronx Museum of the Arts in 2020. Permanent collections include the Museum of Contemporary Photography (Chicago, IL), Portland Art Museum (Portland, OR) and select exhibition venues include Bruce Silverstein, NYC; Photoforum Pasquart, Biel, Switzerland; Kunst und Kulturhaus, Berne, Switzerland; Dutch Trading Post, Nagasaki, Japan; Henry Art Gallery, Seattle, WA; Magazzini del Sale, Siena, Italy; and Oude Kerk, Amsterdam, the Netherlands as a winner of the international Pride Photo Award. Triburgo is a full-time Instructor at Oregon State University’s College of Liberal Arts online campus who teaches critical theory, photography, and gender studies with a focus on expanding liberatory learning practices in online environments.

  • 2/23/22 - Anna Kunz, in conversation with Robert E. Paige

    Color Cast by Anna Kunz

    Anna Kunz, COLOR CAST, 2018, installation at Hyde Park Art Center, acrylic and dye on walls, floor and fabric, transducers installed in floor, vibrating and playing score in cello by Beth Bradfish, composer. Courtesy of the artist.

     

    Thinking Through Color

    Anna Kunz discusses her expansive practice—works on paper, painting, sculpture, and installation—comprised of painted and dyed fabrics in projects that seep out of the rectangle which function like nets to capture and manipulate light and color. Combining painted planes with objects and surfaces that add complexity, Kunz invites viewers to structure space in time by passing through and interacting with these compositions. She frequently creates these experiential works collaboratively, and has worked with the Merce Cunningham Dance Company, The Seldoms, Benny Ninja and Family Voguers, and Industry of the Ordinary, among others. Kunz will be joined in conversation by Robert E. Paige.

    Chicago-based artist Anna Kunz has exhibited interdisciplinary work in the US and abroad for over two decades. Kunz has been artist-in-residence at the Skowhegan School of Painting & Sculpture, Marie Walsh Sharpe Art Foundation Space Program, Edward Albee Foundation, and The Golden Foundation Residency Program. A co-founding member of the national artist-run Tiger Strikes Asteroid’s Chicago branch, she has also served as advisor and creative partner for various organizations. Curatorial projects include an international outdoor exhibition “Nature Unframed” at The Morton Arboretum in Lisle, Illinois, and a “pure platform” nomadic space, “Kunz, Vis Projects,” she operated periodically. Kunz received her BFA from the School of the Art Institute of Chicago and MFA from Northwestern University. In numerous private and public collections, her work is represented by Galleri Urbane, Dallas; McCormick Gallery, Chicago; and Alexander Berggruen Gallery, NYC, and is also shown with RUSCHMAN in Chicago.

  •  3/09/22 - Ben Blount

    Racial Unity by Ben Blount

    left) Ben Blount, Racial Unity, 2019, 19" x 25", letterpress print on paper. Courtesy of the artist. (right) photo: Keith King

     

    Erstwhile Renegade

    Ben Blount speaks about his engagement with art and words and language and print. While looking back at his education and influences, he also focuses on current work and work that was made in reaction to current events. The work is primarily ink on paper (his favorite medium), largely letterpress printed (his weapon of choice), and always looking outward with the intention of conversation and connection (the best way to be in the world). He hopes to see new patterns emerge, ideas for the future develop, and have a stimulating dialog prompted by conversation and questions from the audience.

    Ben Blount is a Detroit-born artist, designer, and letterpress printer that loves books, type, and putting ink on paper. His work often explores questions of race and identity and the stories we tell ourselves about living in America. Blount is a believer in the power of the printed word and shares his passion for print and design speaking to students and educators around the country and as a board member of Artists Book House and Fine Press Book Association. Blount earned a BFA in graphic design at Washington University in St. Louis, and an MFA in Interdisciplinary Book and Paper Arts at Columbia College Chicago. His artists books and prints are included in numerous collections including the Joan Flasch Artists’ Book Collection at the School of the Art Institute of Chicago, The Newberry Library and The Metropolitan Museum of Art. Blount prints out of MAKE, his storefront studio in Evanston’s West Village neighborhood.

  •  3/23/22 - Panel, Olfactory Art and the Political in an Age of Resistance, with Gwenn Aël- Lynn, Matt Morris, Debra Riley Parr, D Rosen 

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    View of Oceti Sakowin camp, Standing Rock Sioux Reservation, December 2016 (one of several Indigenous led activist camps during the #NoDapl protest). Photo: Gwenn-Aël Lynn

     

    Olfactory Art and the Political in an Age of Resistance

    Olfactory art is political, and it offers modes of resistance to regimes of the optical and to assumptions that what is seen establishes a basis for knowledge. This panel will discuss the research of four contributors, Gwenn Aël-Lynn, Matt Morris, Debra Riley Parr, and D Rosen, to the recently published Olfactory Art and the Political in an Age of Resistance (Routledge, 2021). Their work ranges across the fields of race and class scholarship, queer and gender research, animal studies, environmental studies, and institutional critique.

  •  4/06/22 - Ömür Hamanşah, in conversation with Onur Öztürk

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    Pakistan, Hunza Valley, Karimabad-Shimshal Road, July 2017. Photo: Ömür Hamanşah.

     

    Political Ecology as Practice: Fieldwork in the Anthropocene

    Contemporary debates on climate change, the planetary ecological crisis, and the new geological epoch of the Anthropocene have urged academics to pursue unorthodox and innovative collaborations among the arts, the humanities, and the sciences. In this presentation, Dr. Ömür Harmanşah introduces the Humanities Without Walls-funded project “Political Ecology as Practice: A Regional Approach to the Anthropocene” (2017–2019) aimed precisely to bring researchers from the humanities and the social sciences together with artists through experimental fieldwork in seven sites across the world (Bolivia, Turkey, Pakistan, Cambodia, and the US), focusing on the impact of climate change on local communities both urban and rural. The goal was to mix methodologies of researchers from geography, anthropology, archaeology, art history, urban studies, political science, and others alongside art practice, to come up with a fieldwork toolkit for such collaborations. What should an environmental humanities field project look like in the age of the Anthropocene? Harmanşah will discuss the results of this experimental fieldwork as well as the contemporary art exhibition, entitled All Have the Same Breath (Gallery 400, January–March 2019) which was the culminating product of the project, in conversation with Professor Onur Öztürk.

    Ömür Harmanşah is Associate Professor of Art History at the University of Illinois at Chicago’s School of Art and Art History. His current research focuses on the politics of ecology, place, and cultural heritage in the age of the Anthropocene. As an archaeologist and an architectural historian of the ancient Near East, Harmanşah specializes in the art, architecture, and material culture of Anatolia, Syria, and Mesopotamia during the Bronze and Iron Ages. He is the author of two monographs, Cities and the Shaping of Memory in the Ancient Near East (Cambridge University Press, 2013), and Place, Memory, and Healing: An Archaeology of Anatolian Rock Monuments (Routledge, 2015). He held research fellowships at University of Texas at Austin and Koç University in Istanbul. Since 2010, Harmanşah has directed Yalburt Yaylası Archaeological Landscape Research Project, a diachronic regional survey project addressing questions of place and landscape in Konya Province of west-central Turkey. He was the Principal Investigator for the two-year multi-institutional environmental humanities project entitled “Political Ecology as Practice: A Regional Approach to the Anthropocene,” supported by the Humanities Without Walls consortium, which is funded by the Andrew W. Mellon Foundation. He is currently working on a new monograph entitled Landscapes of the Anthropocene: Archaeology, Fieldwork, and the Politics of Heritage in the Middle East, under contract with Routledge.

Previous Art Now! speakers: Emanuel Aguilar, Candida Alvarez, Anna Arabindan-Kesson, Sampada Aranke, Nicole Awai, Jeremiah Barber, Chloë Bass, Dawoud Bey, Amanda Browder, Robert Burnier, Sue Coe, Johanna Drucker, Krista Franklin, Maria Gaspar, Joan Giroux, Myra Greene, Tracie Hall, Tempestt Hazel, EJ Hill, Taylor Hokanson, Jeremiah Hulsebos-Spofford, Jamillah James, Eduardo Kac, Lilli Kayes, David Leggett, Sharon Louden, Faheem Majeed, Annika Marie, Monique Meloche, Harold Mendez, Natani Notah, Ebony G. Patterson, Debra Riley Parr, Chemi Rosado-Seijo, Paul Sacaridiz, Paul Mpagi Sepuya, Barak adé Soleil, Shannon Stratton, Norman Teague, Folayemi Wilson