Emily Breidenbach’s Collective Terrain is a digital platform launching December 2018 that explores humanity’s complex relationship to land and, at times, can be regenerative, exploitative, dismissive, fraught, neutral, frustrating, joyful, and alienating. Emily aims to feature artwork that expresses these moments through Collective Terrain. It will feature new and existing artworks, poems, videos, performance documentation, sound pieces, drawings, flash fiction, essays, critical pieces, interviews, etc. Potential themes for submissions may include land politics, borderlands, environmental justice, place-based pieces, land rights, etc. Currently, there are confirmed 56 participants for the projects from both Chicago, across the United States, and across the globe from countries such as France, Ukraine, Lithuania, Israel, and more.
The objectives and goals of Collective Terrain are twofold. The first is to provide readers with access to artworks that represent humanity’s complicated relationship to land. Through this effort, she hopes that readers can begin to cultivate a deeper understanding of land and their own connection to it and ultimately more empathy. This is crucial as pressing environmental concerns are faced with apathy by dominant society. The second goal of Collective Terrain is to provide a platform for contributors. There is no publication like this that currently exists, so it is filling a clear void. However, the true importance of this lies in the fact that many of the contemporary narratives about land are either highly romanticized or objectifying towards land. This publication offers a space for more multifaceted accounts, expressions, and artworks to come forward. This is important because diverse creative expression is crucial to having a more democratic and equitable arts landscape.
With the support of the Enrichment Fund, Hayley Blackstone attended the 2019 Visual Resources Association Annual Conference in Los Angeles, California. The Visual Resources Association (VRA) is a multi-disciplinary organization dedicated to furthering research and education in the field of image and media management within the educational, cultural heritage, and commercial environments. The Association is committed to providing leadership in the visual resources field, developing and advocating standards, and offering educational tools and opportunities for the benefit of the community at large. VRA implements these goals through publication programs and educational activities.
With the support of the Enrichment Fund Board, LITHIUM Gallery was proud to present “Re: A Two-Volume Exhibition Series.” Founded by SAIC students and alum, LITHIUM and is dedicated to providing a gallery setting for time-based art. Free to the public, LITHIUM has a mission of promoting thought-provoking audiovisual art that includes duration as a dimension and unfolds over time. The two-part exhibition investigates ideas of history and collective memory. Curated in collaboration by LITHIUM gallery and Jacob Zhicheng Zhang, “Re:” invited Berlin-based Polish artist Michal Martychwiec for the first iteration of the exhibition. For second iteration included artists Tamer Hassan and Armand Yervant Tufenkian. As an intentionally two-iteration exhibition, Re: opens and re-opens, revisiting moments of serendipity and fragments from collective memory or personal remembrance through both content and form.
Emily Crum used her Enrichment Fund Board grant to travel to Cleveland, Ohio to see the ArtLens Gallery at the Cleveland Museum of Art (CMA). The ArtLens Gallery is an innovative digital experience that “allows you, your family, and friends to look closer, dive deeper, and have fun discovering the museum’s collection using award-winning…technology.”
This multifaceted tool is comprised of a studio, exhibition, app, and wall that allow you the unique opportunity to create, engage, interact, and connect with the museum’s collection that is individual and catered to you. Through their smartphone app, you can save artworks you learn about, track photos you take during your experience, and map your visit using responsive wayfinding technology. While considered “play”, this technology serves a dual purpose: both whole body participation and new ways of engaging the visitor.
Emily’s current interest and research focus on new ways of interpretation in museums in the 21st century across the country, specifically in the realm of technology and accessibility. She is interested in new technologies and tools of accessibility that museums are developing as an attempt to provide greater access to all patrons, with CMA’s ArtsLens being a pinnacle example. The CMA’s ArtLens Gallery is one of the most innovative technological programs in the United States and can serve as a case study to advocate for more museum’s adapting technology into their daily practice.
For more information about ArtLens Gallery, please visit: www.clevelandart.org/artlens-gallery/about.
Repost is a conceptual photography experiment exploring the intricacies and universal commonalities of everyday life. Visual colloquialisms gathered through a similarly vernacular medium — the disposable camera — tell the stories of our current moment, how we live, what is unique, and what we share. At a time when our day-to-day has become inextricably linked with technology, this project centers around a break from our fast-paced world, encouraging a slower, more intentional approach to image-taking and memory-making. Repost is a return to Presentness.
Curators Lindsey Bell and Celina Wu gather and build a collection of these moments by passing cameras onto peers, who then capture the instances that stand out to them. Each individual who receives a camera continues the chain, passing it on to their peers, and so on and so forth until the camera is fully exposed. Once the camera’s 27 exposures are taken, the last person in possession of the camera returns it in the provided pre-stamped envelope. This chain of passage and the return of the camera are the only stipulations of the project. Otherwise, each participant has full interpretive control in regard to content and quantity of exposures. The resulting images are displayed here in their entirety – unedited and uncensored.
The pop-up exhibition on April 26, 2018 displayed the culmination of the project thus far, including over 500 4×6″ prints as well as printed booklets showing the images from each camera.
The Enrichment funds empowered me to create Outdoor Sandwiches, a five-day pop-up exhibition in the sculpture courtyard of Columbus Campus at SAIC, in partnership with “K-lab: From Seed to Sky”. I invited attendees to rediscover the courtyard, and explore it as an alternative exhibition venue. The featured works came from an open call put out in early April, including painting, ceramic, and installation. Through a creative display of artworks on DIY wood sandwich boards, the exhibition was viewable both from the Columbus stairwell and the courtyard itself. Featured artists included Terrence Bao & Jiaq Zhang, Seuil Chung, Yuting He, Chong Han Lim, and Kalman Pool.
I traveled to County Clare Ireland for an artist residency at the Burren College of Art with my partner Erin Delaney where I used my Enrichment funding to organize events around the interpretation of Irish traditions for local residents. We hosted a night of performance at the college, which included traditional dance and music. I also produced a community building photo project at the historic Newtown Castle in partnership with Polaroid Originals, a Dutch photography company and manufacturer. Newtown Castle is a beautifully restored 16th century cylindrical fortified tower house, one of only a few in Ireland. We asked attendees to consider their relationship to the castle and the history of Ireland, they conversed, wrote down responses, and took polaroids to explore this relationship. I am currently developing a community archive using these materials.
With the help of the Enrichment Fund, I traveled to the Sindh village of Khairpur in Pakistan where the non-profit organization, Indus Resource Center, (http://irc-pakistan.org) is working with community members of Khairpur to promote self-sufficiency. IRC also helped establish the Khazana Craft Center, a space that provides women artisans in Khairpur a place to practice art making and a safe space to interact with each other. The products and goods that come out of Khazana are then sold in the city of Karachi.
During this trip, I was inspired to create a marketing plan that educates the wider world about the vitality of skills and trade in Khairpur and its mixed nonprofit-for-profit model. I believe highlighting this economic model will help humanize the buying experience and encourage Pakistani consumers to buy from Pakistani sellers who cultivate materials from their own land. As a result, consumer habit will change, which will support village industries, increase IRC funding, and finally, help end dependency on international markets and mass production. More detailed information about my trip and presentation can be found on my blog:
The Enrichment Fund partially covered my expenses for a trip to Los Angeles,California where I attended the exhibition series Pacific Standard Time LA/LA. This event presented a variety of exhibitions focused on Latin American art throughout the city. Some highlights include Radical Women: Latin American Art, 1960-1985, which is currently on display in the Hammer Museum and focuses on the contributions to global art made by artists belonging to two marginalized groups: women and Latin Americans. Radical Women has already become a Latin American art reference. It is being discussed in classes and its catalogue is included in syllabi. As an artist and a curator focused in Latin American art, it was vital for me to visit this exhibition before it closed on December 31st. To experience the art works installed first hand will allowed me to a deeper understanding of the curatorial framing of these artists. Radical Women has become a main element in my research and a point of departure for my thesis, which is currently focused on Latin American artist in United States in the decade of the 60’s.
Shannon Hebert Waldman recieved funding form the Enrichment Fund to travel to the College of Art Association Conference 2018, where she was part of a panel titled “Touch and Tooling: A Social and Cultural Perspective on Craft and Engagement in Contemporary Ceramics”. This conversation was the product of a year of collaborative research. Shannon’s part of the panel discussed civics and ceramics and used historic precedents such as the Ostracon (a ceramic shard used for voting) and contemporary projects such as The Democratic Cup and Cuplomacy that use surface design and participatory practices to highlight today’s political conversations.
With the grant provided by the Enrichment Fund, I was able to travel to New York City for the
last conference-style iteration of Open Engagement at the Queens Museum. It was the 10th year for this social practice conference where artists and arts administrators gather together in to share knowledge, skills, and passions. In gathering, there was space for discussion and critical thought around what it means to be a “social practice” artist or administrator in the political and social climate of 2018. The opportunity to attend the conference has shaped my own professional and academic practice. I was able to encounter and critically engage with projects and practitioners committed to current, progressive practices of addressing social issues through the arts, which has greatly informed my own work.
As a project-based thesis, The Tokyo Show: Black is Beautiful will take place in late 2017 in Tokyo, Japan, as an experimental curatorial practice and multi-site exhibition of black American art. Part of the goal is for the works and cultural presence to be active and accessible as both exhibition and resource at different locations around the city.
The Tokyo Show: Black is Beautiful will take place in November 2017 in Tokyo, Japan as an experimental curatorial practice and multi-site exhibition of black American art. The work will activate a variety of settings, such as independent bookshops, apartment galleries, private and nonprofit arts spaces, and arts complexes and centers. Part of the goal is for the works and cultural presence to be active and accessible as both exhibition and resource at different locations around the city.
Part of my engagement as both a critical observer and a creative researcher, over the past two years at SAIC, has been in how black Americans are imagined and representative abroad, historically and at present. Thus, within the immediate writing process of my recent thesis—and also the forthcoming curatorial process—I am asking myself this question: What does it mean to represent yourself, and others, as an African American? and, What does it mean to learn to do this through the arts?
“Black is Beautiful…” The origination and the context of this call within America has a more than fifty-year-old history, emerging from the 1960s black power and civil rights movements. I am wondering now, as a project of the curatorial, what does it mean to say black is beautiful elsewhere? What does it mean to say black is beautiful abroad?
In its staging in Japan in November 2017, The Tokyo Show: Black is Beautiful seeks to achieve context for: art as an instigator for cross-cultural dialogues across global space; art as an instigator for potentially disruptive private and public conversations on the construction of “race;” presentations of black American life. In a commitment to art and exhibition projects that are organized independently from large institutional oversight or market validation, The Tokyo Show: Black is Beautiful additionally views itself as part of the wider discourse on developing independent projects and spaces that are formidable.
Gary Street Lights is an ongoing revitalization project, taking place in Gary, Indiana. The project aims to uncover, shatter and reconfigure the settled politics embedded in an artifact of urban infrastructure: the streetlamp. In conjunction with the Heat, Light, Water Project (HLWP), Gary Street Lights is an incremental project that over the course of the next two to fives years will, with the support of the HLWP artists and administrators install a series of responsive, networked and re-programmable RGB LED area lights.
As a group of students in the Arts Administration and Policy Program, Caitlin Deutsch, Paulina Budzioch and Kelsey Dalton McClellan worked with the Heat, Light, Water Project as student administrators for the Fall 2015 and Spring 2016 semesters. An Enrichment Fund Grant was distributed to the group to support the costs of transportation to and from Gary, Indiana throughout the school year in addition to supporting summer travel costs to facilitate prototyping sessions and general marketing for the Gary Street Lights project. The challenge of working with city and community representatives from a remote location posed significant communication problems for this project and the goal of this funding opportunity was to lessen the financial burden of developing important connections with project constituents. The group successfully worked in Gary, Indiana during summer and ongoing projects have been planned for the Gary Street Lights project as the artists and community move into the phase of installment for the prototypes.
This project was a collaborative endeavor between myself and two artists. These two are also very dear friends, hence the triangular system of love between us. Though I was the initiator and officially held the role of curator, these positioning titles are not adequate for describing how the project was planned and enacted.
Love Triangle was defined by a fascination with play. Play as an impetus, momentum, and crescendo of artistic and curatorial practice. The artists I worked with, April Martin and Bobby Gonzales, use playfulness and all its tangents as a primary mode for making in their work. We used D. W. Winnicott’s psychoanalytic text Playing and Reality as a thread to stitch our practices together. Winnicott situates “play” as an integral, yet shied away from component to everyday life. A mentality akin to childlike fascination and mindfulness of the world that is lost as we enter adulthood. Though the exploration ascribed to artistic practice is often labeled as play, we were aware of the increased professionalization of the artist and those circulating around them, and the consumerist mentality of producing artworks and exhibitions under late capitalism. Responding to this, our focus was on playfulness and relationality, rather than rigor and labor as prioritized values that would coalesce in Love Triangle. We were drawn to the concept of “the amateur” and the uncomfortableness of learning something new together. The three of us realized we all had a deep passion for dance and an interest in experimenting with movement, though up till then we had been hesitant in our desires.
Jameson is a curator and writer currently in the Dual MA program at SAIC. He is interested in the potentials of queerness and its iterations, and the methods artistic practice attempts, fails, and succeeds in deconstructing and/or repairing problematic or limiting societal systems. His curatorial practice involves creating new platforms for artists working in critical and identity-based concepts. He received his BA in Art History from Tyler School of Art and has curated public and gallery projects in Chicago and Philadelphia.
In a trip to UAE in May 2015 and visiting Dubai, Abu-Dhabi and Sharjah, this project tried to explore organizational models implemented by art institutions in the area where museums, art galleries, and fairs are expanding rapidly. Interest in visiting these locations was sparked by debate in Arts Organization in Society course taught by Rachel Weiss is 2014. This research primarily sought to question and analyze the Western influence on the art scene of this region and it’s connection to colonial histories. A brief report of this journey was published in Fnews magazine titled as Dubai’s Art World, But Not For All in 2015.
Kimia Maleki is a recent graduate of the Masters of Arts Administration and Policy program at the School of the Art Institute of Chicago. Kimia is interested in archiving, historiography and curatorial practice. She created the first comprehensive magazine of art students at the University of the Arts, Tehran while pursuing her Bachelors of Fine Arts. Following her BFA, she received an exceptional talent award to be enrolled as a graduate student in the Masters of Art Theory and Research program at the Tehran Art University where she felt compelled to move abroad to learn new theoretical methods of artistic leadership in order to help her own art community. While at SAIC she started to gather Iranian students as part of the Iranian Studies Group, she got experiences by serving as a Teacher Assistant both in the Art History and Contemporary Practices departments and a contributor for Fnews magazine. Now, Kimia is serving as Special Collections Coordinator at Stony Island Arts Bank.
Artist Pool – an experiment in building an open-source organizational model, web platform, and integrated set of tools for artists and arts organizations. It’s becoming common knowledge that the traditional models of publishing and distributing media, music, video, and writing have been upended by digital media and the Internet, which – beyond the mechanisms of selling, marketing, copying, and sharing – also constitutes an entirely new hybrid medium. Artist Pool intends to build a hybrid model for presenting this kind hybrid of work on the web, focused first and foremost on building an infrastructure that puts artists, and the art, first.
Artist Pool will commission work and collate material to be presented, sold or monetized, and archived on the web, offer bi-monthly releases & newsletter, a subscription service for all digital content, short-run physical editions, and a long-term searchable web archive of artwork/media made for the web.
Artist Pool will act as an artist service to produce, distribute, and market work curated and maintained by artists and organizations involved – a pooling of energy and resources already being put into their individual/organizational practices. Artist Pool will create opportunities for artists to invest in themselves, understand the systems, risks, and rewards associated with the release of their work, and remove the exploitative business methods of content-farms, record labels, and web meta-businesses. Artist Pool will support the work of artists without demanding they give up the rights to their work, and offer services for long-term digital distribution, across commercial and non-commercial platforms, for artists who want their work accessible to the public without being forced to give it away for free.
Matt Mehlan is a Chicagoland native, artist, musician, and arts organizer. Based in Brooklyn for the last 10 years, Matt fronts the band Skeletons, the multimedia project Uumans, and runs the record label Shinkoyo. He co-founded the original Silent Barn art space in NYC, and worked for nine years as Production Manager at the experimental music institution Roulette, where he produced concerts, managed the archive, and made documentaries about musicians and artists for Roulette TV.
Matt has performed around the world and released music on Shinkoyo, Ghostly International, Tomlab, Crammed Discs, The Social Registry, Sockets, Altin Village and Mine, among other labels.
Hello Strangers is a two-day (April 23-24, 2016) exhibition took place in an airbnb apartment at 1801 S Peoria St., Chicago. It’s a curatorial experiment that looks at how an exhibition forms connection between strangers. Fourteen BFA students from SAIC participated in the exhibition, with their twenty-one works (painting, photograph, installation, print, sculpture, and 3D-printed object) showed to the audience. The exhibition provided a social platform for the artists as well as for the audience.
Minghui Huang is a second-year graduate student in Arts Administration at SAIC. She graduated from University of Virginia with a degree in Economics and Art History. Minghui is interested in contemporary art and its institutions. Her research has focused on non-collecting contemporary art institutions in the US and Europe, with emphasis on how these institutions engage in social critique.
Technology initiatives have become increasingly pervasive in museums today and their presence has been as much daring and innovative as perplexing and even unsettling. In part, my project research has focused on case studies of cultural institutions that have implemented a variety of digital platforms within their galleries and how the application of these technologies can potentially encourage cross departmental collaboration.
The enrichment fund grant allowed me to travel to New York and experience a number of these digital platforms in person at the Brooklyn Museum of Art, the Cooper Hewitt Smithsonian Design Museum and the American Museum of Natural History. The interviews I conducted at these institutions laid the foundation for my subsequent thesis work with my partner, Caitlin Deutsch, about how interdisciplinary teams collaborate on digital projects using a variety of planning methodologies.
Joseph Lefthand, Vero Orozco, & Caroline KNg (MAAAP ’19) Funds to support trip to Performative Topologies Workshop Series
Allie Beck (MAAAP ’19) Funds to attend Journey to Imagining Tomorrow
Francisca Rudolph (Dual ’21)Funds to attend Immersive Pedagogy
Daniel Jimenez Quiroz (MAAAP ’20) UNFRAMED FUTURES
Emily Crum (Dual ’20) Funds to complete Pilgrimage to the Cleveland Museum of Arts- ArtLens Gallery
Nicky Ni (Dual ’19) – “Re: A Two-Volume Exhibition Series”
Hayley Blackstone (Dual ’21) Funds to attend Visual Resources Association 2019 Annual Conference
Emily Breidenbach (MAAAP ’18) – Collective Terrain Digital Arts Publication (www.collectiveterrain.org)
Egon Schielel (Dual ’20) From Clare to Here
Madison Claire Potter (MAAAP ’18) Funds to attend Christie’s Graduate Training Program Assessment Day
Kaity O’Reilly (MAAAP ’19) Funds to attend Open Engagement Conference, NY
Libia Bianibi (MAAAP ’18) Making as Research: Unraveling Mexican Cultural Policy on Artisanal Craft
Urooj Shakeel (MAAAP ’19) Binding Identity
Yuting He (MAAAP ’19) Paintings Planted
Lindsey Bell (Dual ’19) & Celina Wu (Dual ’19) Disposable Photo Project
Shannon Hebert Waldman (Dual ’20) Touch and Tooling: A Social and Cultural Perspective on Ceramics, presentes at the annual College of Art Association Conference in Los Angeles, CA
Wisdom Baty (MAAAP ’18) Ways We Make: Workshop and Exhibition Project Proposal
Carlos Salazar-Lermont (Dual ’19) Trip to attend the exhibit Radical Women: Latin American Art, 1960-1985
Emily Owen (MAAAP ’16) schema: artistic directions of the administrator
Alexia Casanova (MAAAP ’15) Thesis Research in Mexico City
Jennie Crichlow (MAAAP ’15) Tent: Museums in New York City
Beatrice Schmider (MAAAP ’15) FLAT Space in Chicago
Jeanelle Chang (MAAAP ’13) Re:Developed – Participation in Games + Learning + Society
Samantha Stevick (MAAAP ’13) Topic-Specific Roadside Museums: A Financial, Operational, and Cultural Analysis
Catalina Acosta-Carrizosa (Dual ’15), Cassandra Carpenter (Dual ’15), Jennifer Groot (MAAAP ’14), Rachel Kaplan (MAAAP ’14), Alyssa Larkin (MAAAP ’14), Stephanie Lentz (MAAAP ’14), Annie McNair (MAAAP ’14), Gretchen Reyes (MAAAP ’14) The Gary Vision Project: Phase One
Gan Uyeda (Dual ’14) He Mau Koa Kākou Mau a Mau (We Are Warriors Forever) Exhibition Catalogue
Renee Mikon (MAAAP ’13) The Detroit-Berlin Connection: An International Study Trip
Jennifer Mefford (MAAAP ’12) Space & Expectation: A Curatorial Project at Grace Exhibition Space Brooklyn
Bonnie O’Donoghue (MAAAP ’12) Thesis Research and Professional Development in Hong Kong
Anna Festa (MAAAP ’12) South Africa Speak: Louder than a Bomb
Karen Patterson (MAAAP ’12) The things that matter: Ray Yoshida Home Collection
Alex Aubry (MAAAP ’13) Independent Field Study trip to Bahrain: Arab World Culture Capital
Laura Bickford (Dual ’13) Leroy Person: The Media is the Message
Brandi Kulakowski (Dual ’12) Time Machine Biennial, D-0 ARK Underground
Penny Duff (MAAAP ’12) Printing Materials. Jessica Howel
Paige Johnston (Dual ’11) Motherwell
Tang Zehui (MAAAP ‘10) Exhibition Printing Costs
Fang-Tze (MAAAP ’10)
Beth Capper (’10)
Tang Zehui (MAAAP ’10)
Dorota Biczel Nelson (Dual ’10)
Ania Marie Szremski
Steven Lawrence Bridges (Dual ’09)
Hannah Swartz (MAAAP ’09)
Abigail Satinsky (Dual ’09)
Chiara Bernasconi (’07)
Kerry Schneider (MAAAP ’07)
Bevin Ross (MAAAP ’07)