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Passing the Veil: of tXX XXXXXXX XX XXXXX, Marginal Utility,
First Among Equals, Institute of Contemporary Art, Philadelphia.
from the Parking Lot, Brooklyn Arts Council, Brooklyn,
Even a Mirror Casts a Shadow, Process Room, Irish Museum of Modern Art, Dublin.
Supervisors, Michael Kohn Gallery, Los Angeles.
Obras Laranjas (Orange Works), with Sancho Silva, Project Room, Centro Cultural de Belém, Lisbon.
plane air, Michael Kohn Gallery, Los Angeles.
HELP/LESS, Printed Matter, New York.
Days of This Society Are Numbered, Abrons Art Center, New York, NY.
Between Document and Fiction, Maus Hábitos and Passos Manuel, Oporto.
Gifting Abstraction, Soho 20 Chelsea, NY, NY.
Re:Group: Beyond Models of Consensus, Eyebeam Art and
Technology Center, New York, NY.
Big Show 5, Silas Marder, Bridgehampton, NY.
Actions for Urban Spaces, Art in General, NY, NY.
Century, 10 Pencils, 100 Drawings, Museum of the Presidency of the Republic, Lisbon.
Spatial Relations, Savannah College of Art and Design, Savannah, Georgia.
Democracy in America—Convergence Center, Creative Time,
Park Avenue Armory, New York, NY.
Whitney Museum of American Art Independent Study Program,
Artist’s Space, New York, NY.
Land Grab, Apex Art, New York, NY.
Urban Interface Oslo, Atelier Nord, Oslo.
Monoprints, Pace Editions, New York, NY.
Steam Shop (or the Painter’s Studio), Fábrica da Pólvora, Barcarena, Portugal.
Seeing the Invisible, Riccardo Crespi Gallery, Milan.
Mind the Gap, Smack Mellon, Brooklyn, NY.
Wonderful Fund, Le Musée de Marrakech, Morocco;
Pallant House Gallery, Chichester, UK.
Report from NYC, Susquehanna Museum of Art, Harrisburg, Pennsylvania.
Resonance, Hun Gallery, New York, NY.
Mystery History, Broadway Gallery, New York, NY.
Detonation, Anthology Film Archives, New York,NY.
and Saatchi Headquarters, New York, NY.
D'Artistes Americains, La Miroterie, Paris.
Beyond the Gates, Art in General, Williamsburg Art and Historical Center, Brooklyn, NY.
Whitney Museum of American Art, Independent Study Program, New York, NY.
Pratt Institute, Brooklyn, NY.
Bachelor of Arts, Classics, Colby College, Waterville, Maine.
and Productive Confusion, Exit Art, New York, NY.
Graduate Art Theory Seminar, Pennsylvania Academy of Fine Arts, Philadelphia.2011
Arte Util, A- Lab Forum, Queens, NY.
Mapping Spectral Traces, National University of Ireland at Maynooth, Dublin.
Artist in Residency Program (ARP), Irish Museum of Modern Art, Dublin.
Stoop Series, Tyler School of Art, Philadelphia.
Activist Interiors, The New School, New York, NY.
Participation-ism and the Limits of Collaboration, Eyebeam Art and Technology Center, New York, NY.
Open Call, PS. 1 and Creative Time, Queens, NY.
Urban Public Art, The New School, NY.
session at College Art Association Annual Conference, Los Angeles.
Actions for Urban Spaces Roundtable, Art in General, New York, NY.
Museum as Hub, New Museum of Contemporary Art, New York, NY.
Strategies of Occupation: Grabbing Land and the Political Agency of the Artist,
Vera List Center, The New School, New York, NY.
The Porous City, (conference), Oslo, Norway.
Organizer/Lecturer, Robert Smithson: Grounding Art, Pratt Institute, Brooklyn, NY.
“Every Exit Is an Entrance: 30 Years of Exit Art,” Holland Cotter,
New York Times, May 10.
“Court Jester: Is Richard Prince Using the Legal System as a Medium?”
New York Observer, May 29.2011 “Authorized Disruption: John Hawke and Orange Works, 2005–10,” Radical History Review, Duke University Press (volume 109), Winter.
1 Century, 10 Pencils, 100 Drawings, Viarco Express,
Museum of the Presidency of the Republic, Lisbon, (exhibition catalog).
Democracy in America, Creative Time Books, New York, NY, (exhibition catalog).
“With Politics in the Air, a Freedom Free-for-All Comes to Town,” Holland Cotter,
New York Times, September 23.
“Art in Review,” Roberta Smith, New York Times, December 7.
“Build a Fort,” David Michael Perez, rhizome.org.
“Land Grab,” Shane McAdams, Brooklyn Rail, Dec.
“Seeing the Invisible,” Samuel Menin, Flash Art, Feb.
Steam Shop (or the Painter’s Studio), Gulbenkien Foundation, (exhibition catalog).
“Filling the Void,” Olympia Kazi, Architect’s Newspaper, May.
Mind the Gap, Eva Diaz and Beth Stryker, (exhibition catalog).
The Wonderful Fund Collection,
“Report from NYC” The Patriot News, October.
InStyle magazine, Fall/Winter.
New American Paintings: the MFA Annual, Open Studios Press.
Art and Law Residency, Volunteer Lawyers for the Arts, NY.
Artist Community Collaboration Award, Brooklyn Arts Council, NY.
Artist in Residency Program, Irish Museum of Modern Art, Dublin, Ireland.
Kress Foundation Curatorial Fellowship,
Department of European Paintings and Sculpture, Brooklyn Museum.
MFA, MS degrees with Highest Distinction, Pratt Institute, Brooklyn, NY.
Pratt Circle Award - Outstanding Academic Achievement. Pratt Institute.
Alliance Bernstein, New York, NY.
Capital Group, New York, NY.
Martin Brest, Hollywood, CA.
Microsoft Corporation, Redmond, WA.
Sidley Austin LLP, New York, NY.
Wonderful Fund, London, UK.
2002-present: Michael Kohn Gallery Los Angeles, CA.
2007-present: Pace Editions, New York, NY.
AUTHORED REVIEWS AND CRITICISM
“Lost in Queens,” Brooklyn Rail (BR), April.
“Unbroken Kilometers,” BR, September.
“Carol Peligian at East,” BR, June.
“Mark Lombardi: Global Networks,” BR, January.
“Landslide,” BR, September.
“Water, Water,” BR, September.
“Remains of the Day,” BR, March.
“Raw,” BR, March.
“John O’ Conner: Schemes Out,” BR, December.
“Sacred Matter,” BR, September.
“Art in Lisbon,” BR, August.
“Rendez-Vous,” BR, May.
“I’m With Nature,” BR, April.
“Kim Jones at Pierogi,” BR, February.
Suffolk County Community College, Visual Arts Department, Selden, NY.
Fairleigh Dickinson University, Visual and Performing Arts Department, Madison, NJ.
Essex County College, Humanities Department, Newark, NJ.2008
County College of Morris, Department of Visual Arts, Randolph, NJ.