CONTACT: paula(at)paulajwilson.com

Curriculum Vitae and Bibliography

Gallery Representation:

Emerson Dorsch Gallery, Miami, FL

Art Organizations:

MoMAZoZo

Carrizozo Artist-in-Residence Program

NEWS

Catalogue– Paula Wilson: Toward the Sky’s Back Door, ORDER NOW!

Also available on the Studio Museum Harlem Store or on Amazon.

UPCOMING:

Two Person Exhibition: We Dream of Life: iris hu and Paula Wilson, Ruffin Gallery, University of Virginia, Charlottesville, VA, January 30 – March 20, 2026

RECENT PRESS, INTERVIEWS, PODCASTS:

PRESS: A Handmade Wonderland, American Craft Magazine, by Rebecca McNamara, Spring 2025

Contribution: THIS LONG CENTURY, Paula Wilson

Conversation: WHAT LIVES BOTH WITHIN AND OUTSIDE, a conversation between Paula Wilson and esteban silva

AWARD: Bemis Center’s 2024 REE KANEKO AWARD WINNER

PRESS: From ‘Tiny Pricks’ to public monuments: 9 art shows with big questions about our country as Election Day nears: Here’s how artists are meeting the political moment, The Boston Globe, by Cate McQuaid,  September 5, 2024

PRESS: The Approval Matrix, New York Magazine, compiled by Dominique Pariso and Chris Stanton, Aug. 23, 2024

PRESS: What to See in N.Y.C. Galleries in August, The New York Times, by Jillian Steinhauer, August 14, 2024

PRESS: ‘Jelly’s Last Jam,’ an expert’s guide to the Getty and the L.A. culture kicking off Memorial Day weekend, Los Angeles Times, by Craig Nakano, May 25, 2024

PRESS: A ‘Wonderland’ Adventure in the Bronx, The New York Times, by Laurel Graeber, April 24, 2024

BOOK: Aldridge, Taylor Renee, ed. All These Liberations: Women Artists in the Eileen Harris Norton Collection. New Haven: Yale University Press.

TALK: Made With a Wink: Play and Wonder in the Art of Paula Wilson presented by: Surface Design Association and Tang Museum’s Curator Rebecca McNamara.

PRESS: HYPERALLERGIC: Your Guide to Art Excursions Outside NYC This Fall, August 29, 2023

PRESS: Times Union, Artist Paula Wilson shows delirious swath of style at Tang show, by William Jaeger, July 31, 2023 

PRESS: The Daily Gazette, On Exhibit: Accessible, satisfyingly layered works on view at Tang Teaching Museum, by Indiana Nash, September 2nd, 2023

VIDEO: Colby College Museum of Art: Virgil Ortiz, Daniel Minter, and Paula Wilson in conversation with Jacqueline Terrassa, July 8th, 2023

PRESS: ARTSY | 28 Overlooked Black Artists to Discover This Black History Month by Ayanna Dozier, Feb 1, 2023

PRESS: HYPERALLERGIC Review by Rachel Harris-Huffman, “How Do We Embody Natural Spaces? Nicola López and Paula Wilson’s exhibition Becoming Land considers anthropocentric relationships with New Mexico’s desert landscapes.” January 30, 2023

PRESS: The New Yorker, “Goings On About Town”, Paula Wilson: Imago, Johanna Fateman, October 3rd, 2022

INTERVIEW: BOMB Magazine, Turning to the Light, Paula Wilson Interviewed by Heidi Howard

PODCAST: PEP TALKS FOR ARTISTS Ep 37: Interview w/ Paula Wilson

PRESS: Artnet, 13 Buzzy Back-to-School Gallery Shows to See During Armory Week, Sarah Cascone, September 6, 2022

PRESS: Plein Air Is a Sobering Reminder of Human Impact on the Environment, Hyperallergic, Thao Votang, August 29, 2022

PAST:

GROUP EXHIBITION: Slight of Hand: A Small Works Invitational, MEPAINTSME, November 12 – December 24, 2024

GROUP EXHIBITION: Wonderland: Curious Nature, New York Botanical Garden, a group exhibition curated by Jennifer Gross, May 18–October 27, 2024, Bronx, NY

GROUP EXHIBITION: What Is Seen, Girls’ Club, curated by Tayina Deravile, August 30 – October 4, 2024, Fort Lauderdale, FL

GROUP EXHIBITION: WAVE Contemporary and Well Well Projects bring you Orbit, a curatorial project highlighting film, animations, and moving images organized by Marcelo Fontana and Chris Ticas, and curated by Jamie Isenstein, Gian Spina, and Tilsa Otta. Presented in partnership with Oregon Contemporary. August 19 – Oct 6, 2024

GROUP EXHIBITION: off the pedestal, Emerson Contemporary, Boston, MA, through, October 31, 2024

SOLO EXHIBITION: The Wind Keeps Time, at 55 Walker (Andrew Kreps Gallery, Bortolami Gallery, kaufmann repetto), New York, NY

GROUP EXHIBITION: Prints, Fredric Snitzer Gallery, Miami, FL, July 13 – August 17, 2024

SOLO EXHIBITION: Toward the Sky’s Back Door, California African-American Museum (CAAM), May 22 – August 18, 2024, Los Angeles, CA

GROUP EXHIBITION: SELF (CONTAINED), Ryan Lee Gallery, Curated by Elizabeth Denny and Katie Alice Fitz Gerald, June 27 – August 16, 2024, New York, NY

GROUP EXHIBITION: Eco-Pulse: Rise and Fall, Hindsight Insight 4.0, University of New Mexico Art Museum, Albuquerque, NM, 2024

Life Spiral on view within George Rush’s exhibition Make-believe Love, ESCOLAR, 2110 Dennis Lane, Santa Rosa, CA, July 20-August 16

GROUP EXHIBITION: There is a Woman in Every Color: Black Women in Art at Delaware Art Museum, Wilmington, Delaware, Mar 16, 2024  –  May 26, 2024

GROUP EXHIBITION: Chicken and the Egg, Towson University’s Center for the Arts Gallery, Towson, Maryland, February 2-April 13, 2024

Toward the Sky’s Back Door, solo exhibition at The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs, New York, July 15 – December 30th, 2023

Plein Air, a group exhibition organized by Aurora Tang, Armory Center for the Arts, Pasadena, CA, through December, 10th, 2023.

EVENT: Dunkerley Dialogue with Paula Wilson and Lisa Jackson-Schebetta, The Frances Young Tang Teaching Museum and Art, Gallery at Skidmore College, Saratoga Springs, NY, September 20, 6 PM

Transcendental Arrangements, curated by Elizabeth Chodos, Miller Institute for Contemporary Art at Carnegie Mellon University, Pittsburgh, PA. Opening July 29th, 2023 through September 3rd, 2023

Ashley Bryan | Paula Wilson Take the World Into Your Arms, curated by Jennifer Gross at the Colby College Museum of Art’s Joan Dignam Schmaltz Gallery in the Paul J. Schupf Art Center, Waterville, Maine, through July 31st, 2023

There is a Woman in Every Color: Black Women in Art, El Paso Museum, El Paso, TX, February 3 – May 14, 2023

Diurnal/Nocturnal, curated by Mark Dion, Leroy Neiman Gallery, Columbia University, New York, NY, through March 23rd, 2023

Irresistible Revolutions, Southwestern University Fine Arts Gallery, Georgetown, TX, 2023

Plein Air, a group exhibition organized by Aurora Tang, MOCA Tucson, through March 12th, 2023

Albuquerque Museum, Nicola López and Paula Wilson: Becoming Land through February 12th. The exhibition is part of a larger umbrella of shows titled: Historic and Contemporary Landscapes including work by Thomas Cole and Kiki Smith.

Be Wild. Bewilder, solo exhibition at Emerson Dorsch Gallery, Miami, through Jan 21, 2023.

Imago, solo exhibition, Denny Dimin Gallery, New York, NY, Opening September 9th – October 29th, 2022

The Wild and The Tame, Denny Dimin Gallery, Hong Kong – June 11 – September 4, 2022

Tamarind Institute at Pie Projects, Pie Projects, Santa Fe, NM, August 6 – August 13, 2022 Closing Public Reception: August 13, 4 – 6 pm. 

Lunarian, a group exhibition at Denny Dimin Gallery HONG KONG, 01.22.2022 – 03.16.2022

Yucca Rising, 2021
188 x 188 inches
ink (processes: woodblock print, relief print, trace monoprint, monotype), acrylic, and oil on muslin

Staying with the Trouble, curated by Kate McNamara, Tufts University Galleries at their Medford and Boston locations, opening August 30th – Decemeber 5th, 2021

There Is a Woman in Every Color: Black Women in Art, curated by Elizabeth S. Humphrey, Bowdoin College Museum of Art, Brunswick, ME, 2021-2022

Mobilizing The Land Scape: Contemporary Artists Explore Landscape and Place, Curated by Emily Noelle Lambert, Thorne-Sagendorph Art Gallery at Keene State College, September 9 – December 14, 2021

A Contemporary Black Matriarchal Lineage in Printmaking, Highpoint Center for Printmaking, curated by Delita Martin and Tanekeya Word, Minneapolis, MN, SEPTEMBER 24 – DECEMBER 4, 2021

 “A Conversation about Public Art and Monuments” on Oregon Public Radio’s Think Out Loud broadcast.

Beckwith Lecture: Paula Wilson & Faith Wilding, moderated by Angelina Gualdoni, Painting faculty, SMFA, October 28, 6pm

Join us for our fall 2021 Beckwith guest lecturers, Paula Wilson and Faith Wilding. These artists are featured in conversation in the Grossman Gallery at SMFA / Boston.  Wilson and Wilding both draw from the physical environment to engage with cultural and natural histories. Their works are part of the multivenue exhibition, Staying with the Trouble, also on view at the Aidekman Arts Center / Medford. The exhibition proposes strategies and coping mechanisms for navigating the current political and socioeconomic climate, which seems to be simultaneously slipping backward into the archaic and forward into the apocalyptic.

In the Desert: Mooning // collagraph on muslin from two plates, handprinted collage on muslin and inkjet collage on silk, mounted on canvas and wood // 69 ½ x 43 ¾ // edition of 10 // made in collaboration with Island Press // 2016

Eye to I: Self-Portraits from the National Portrait Gallery, Albuquerque Museum, June 12-September 12, 2021

Marking Time / Making Space,  Blue Galleries at Boise State University, Boise, ID, 2021

Art on Paper 2021 with Tamarind Institute, Pier 36 | 299 South Street, New York, NY 10002, September 9-12. 

Mooning (lil solo yellow),  Mooning (lil solo magenta) and Mooning (lil solo cyan)
woodblock print on BFK Rives Lightweight Cream Paper
6 1/2 x 5
each color edition of 9
$490 (limited supply)

Catching the Night, 2021
Fourteen-color lithograph with chine collé
Paper Size: 32 x 23 inches
Paper Type: Thai Kozo and black Revere suede
Collaborating Printer(s): Valpuri Remling and Alyssa Ebinger
Edition of 20, $3,200
available through Tamarind Institute

Eye Spots, 2021
Two-color lithograph with chine collé
Paper Size: 27 3/4 x 22 inches
Paper Type: Thai Kozo/white Arches Cover and Gampi
Collaborating Printer(s): Valpuri Remling and Alyssa Ebinger
Edition of 20
$2,000
available through Tamarind Institute

Lepidoptera Collection:
five single-color lithographs with chine collé
Paper Size: 10 x 8 inches
Paper Type: White Arches Cover and Thai Kozo
Collaborating Printer(s): Alyssa Ebinger
Edition of 20
Suite $2,500
$500 individually
Available through Tamarind Institute

Locks, 2021
relief print on Somerset Satin paper
paper size: 37 x 30 inches, image size: 21 11/16 x 27 ¾ inches
Edition of 8
$2,900

Mooning (Black & White), 2021
relief print on Somerset Satin paper
30 x 22 inches
Edition of 3
$2,900

Spread
Three color screen print, two layer reduction print
Made in collaboration with Oberlin College Editions
22 x 27 inches
edition of 20
2020
$3,500

‘Picked’
Two color screen print, woodblock, & foil imaging hand painted by the artist on Somerset Satin
22 x 30 inches
Made in Collaboration with the University of Iowa Print Department
edition of 30
2016
$3,900

Mooning
Two color collograph on Somerset paper
15 x 19 inches
variable edition of 9
2017
$2,500

In Stride II
relief print on Somerset Satin paper
edition of 3
x inches
2018
$3,000

In the Desert: Mooning // collagraph on muslin from two plates, handprinted collage on muslin and inkjet collage on silk, mounted on canvas and wood // 69 ½ x 43 ¾ // edition of 10 // made in collaboration with Island Press // 2016
$7,500

Wish Bowl
Polymer plate print on paper
Edition of 3
14 ¾ x 22 inches
2016
SOLD OUT

Amphoras
Four color screen print
Image size 4 ¼ x 4 ½ inches, paper size: 5 ½ x 7 ½ inches
Artist Proof (A/P) variable edition of 9
2014
$700

PROMENADING
In collaboration with City College, NYC’s City Editions
Reduction woodblock print on Kitakata mounted to Somerset Satin
19 1/2″ x 15″
edition of 12
2012
SOLD OUT 

BLUE NOTES
In collaboration with City College, NYC’s City Editions
Reduction woodblock print on Kitakata, mounted to Somerset Satin
19 1/2″ x 15″
edition of 12
2012
SOLD OUT

THREE GRACES
In collaboration with City College, NYC’s City Editions
Intaglio print with screen print chine colle on Somerset Satin, 19 1/2″ x 15″
edition of 26
2012
SOLD OUT

BUDS
In collaboration with City College, NYC’s City Editions
Intaglio print with screen print chine colle on Somerset Satin, 19 1/2″ x 15″
edition of 23
2012
$2,500

‘Normal Vibrate Silence’
In collaboration with MassArt’s Master Print Series
Lithograph with screen print on hand-cut Kitakata paper mounted on Somerset Textured paper, white. Hand-cut elements are meant to fold out when displayed. Paper size: 27 ¼” x 22 ½”, Image size: 20 ½” x 17” Edition size: 16
2012
SOLD OUT

‘NEW DEVELOPMENT’
In collaboration with MassArt’s Master Print Series
Intaglio with screen print, 30″ x 15″, Somerset Textured, soft white.
Edition size: 27
2012
SOLD OUT

‘QR Code Rug I ‘
In collaboration with MassArt’s Master Print Series, 2012. 2 color screen print with spray paint
30″x22″
Somerset Satin, white
Edition size: 22
2012
$2,500

Remodeled
relief woodcut, offset lithography and silkscreen with collaged elements and hand coloring
Produced and editioned at Columbia University’s Leroy Neiman Center for Print Studies, New York, NY
19 1/2 x 25 3/4 inches
2007
SOLD OUT

Last Summer
Etching, silkscreen and hand coloring Produced and editioned at Columbia University’s Leroy Neiman Center for Print Studies, New York, NY
19 1/2 x 25 3/4 inches
2007
$4,700

Poker at Greg’s House
Silkscreen with paper cutouts on paper
19 1/2 x 25 3/4 inches,
Produced and editioned at Columbia University’s Leroy Neiman Center for Print Studies, New York, NY
2007
$3,200

Under One Umbrella, 2017
Woodblock print with spray paint
11 × 7 in
27.9 × 17.8 cm
Editions 50
$900 (available through Emerson Dorsch Gallery, Miami only)

For inquires please email: paulajwilson(at)gmail(dot)com

*Shipping, tax, and discounts quoted by seller

Toward the Sky’s Back Door, solo exhibition at The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs, New York through December 30th, 2023 (photo: Wendy McDaniel)

SUNFLOWER LOVE, 2013

A COLLABORATION: w/Jamie Hayes’ UNIFORM PROJECT

photo montage by Damon Locks

More images.

Jamie Hayes invited me to join >UNIFORMS<, the second installation of Past Perfect, a clothing design project to produce personalize ‘UNIFORMS.’

JAMIE:

Hi dear Paula!
I’m gearing up for another version of my fashion/art project, this time on uniforms. I’d love to have you participate if you’re interested! As with my recent project, Past Perfect: Vietnam (http://jamielhayes.com/past-perfect-vietnam/) I will be working with each participant to design and produce a custom garment or accessory, in this case a uniform. As with the Past Perfect project, the parameters will be quite broad. For some, the uniform might be quite functional and related to the physical demands of the work/activities that you do each day. Perhaps you are/have been mandated to wear a uniform, and you’d like to react in some way to that experience. The uniform might also speak more to the informal, unspoken uniforms that exist within a given profession or subculture, and the desire to stand out, blend in, or transform to suit the different aspects of your life. Or, it might speak to the desire to streamline your life. Alternately, it might be inspired by a certain uniform archetype that speaks to you—be it a homage, reaction, or re-appropriation. These suggestions are by no means prescriptive. What interests me are each participant’s individual ideas about and definitions of uniforms.

If you’d like to participate, I will need to measure you and we will work together on a design. I’ll then have the garment produced while in Asia. Once I return, I’ll fit the garment on you and alter it as necessary.

PAULA:

nature print from Buffalo Gourd

Jamie,
I am thrilled for this invitation and wholeheartedly accept. I think your project brings into focus our dynamic relationship with clothes, self, identity, memory, desire, and not to mention mass verses one-of-kind production. The uniform focus of this installment is also exciting.
Please let me know how to proceed– beyond all the ideas I have swirling around in my head.
xoP

JAMIE: Yea–so glad you want to participate!
In terms next steps, it should be easy with you since you have a deep understanding of fashion, fabric, and fit and can communicate your concepts verbally and visually. In the past project, some ppl were quite specific in their ideas and others focused more on mood/feeling/era and then I sent sketches to them based on our conversations–either way works for me.  So we can start by having you can send me source photos and/or a sketch or description via email or we can video skype if you prefer. For every participant, I will make a final spec drawing for your approval prior to going to China, to make sure that we’re on the same page and to give to the tailor.

after you decide on a design, i’ll need your measurements or measurements of a similarly-styled well-fitting garment, if you happen to have one. Once I know the general design, I’ll know which measurements I’ll need.
…and what are these lovely vines in the photo attachment that you sent? how did you make them? batik? absolutely lovely! as an aside, feel free to print/embellish the fabric for your uniform design if that’s of interest to you. i love your walking paintings!
xj

Damon Locks wearing Jamie Hayes

p.s. speaking of wax resist, here’s the jacket and dashiki that I made for Damon for his big show out of the Vlisco fabric.

We decide on my UNIFORM’s– a boiler suit in a multicultural and futuristic vibe with a solar panel.

HUNTING FOR WEARABLE ENERGY:

DeGraziaPAULA:

PAULA:
Jamie,
ahhhh, great skyping with you! I am very excited for our garment and for your artistic fashionable future.

Below are some of the internet surfing results for solar panels. I started by searching the most basic individual units– single module/single cells. It takes 6 volts to charge most devices. These (http://store.sundancesolar.com/supsolcel5v1.html) are .5 volts, so they would need to be ‘strung’ together.

Instead of playing with wiring, there are plenty of ‘ready to go‘ cell phone chargers and the like that could be incorporated into a design.

Science Fair website with good options for our scale:
http://store.sundancesolar.com/smalsolpanfo.html

More options to browse:
http://www.solarmade.com/SolarMini-Panels%26Motors.htm

JAMIE:
Excellent information! When I looked yesterday, I only found very expensive panels–probably bc those are what you need to heat a house or smthg. Also nice that your links explained how it all basically works.

Some questions/comments:

1. I like the freedom and price of the individual unit cells. Some seem to come with the wiring in place already and/or I could figure out soldering.

But once they are linked together, they still have to hook up to a battery, correct?

2. But I do like the look of the cell phone charger that you sent. On the back of a boiler suit it would look very Los Alamos. Bonus is that it would could be applied in a way that’s easy to remove for washing … smthg we need to think about for the other designs.

3. I also like the idea of the flexible ones- here’s one that’s affordable- 12V and comes with wires. This company seems to manufacture it in sheets of plastic which is also really great but not sure that they would sell to me, even with my wholesale #. http://www.konarka.com/index.php/power-plastic/power-plastic-products/

With regard to design, in my head the piece is something utilitarian and almost low-tech combined with the “high-tech” solar panels, very DIY off-the-grid (literally). I liked the “science fair” link bc I think the design will reflect that feeling of smthg homemade but with a dream of the future. Hence coveralls, boiler suits, etc, that are utilitarian but give the feel of tinkering/working/building.

Alternately, when you initially brought up solar, and I thought it would mean connecting tons of hard panels, I mentioned Paco Rabanne and his late 60s vision of the future. Attached are some photos of his work. Also attached is a solar necklace design that I like as a reference if we go the clean and futuristic route.

Finally, here the link to the Chicago-based solar handbag company, Noon. Marianne Fairbanks and Jane Palmer are the names of the owners. Now that I know that solar cells are easy to find and affordable, there’s no need to contact them but thought I’d share in case you knew them when you lived here. They are SAIC people and Marianne worked at Lula. The designs are nice.

Looking forward to our call tomorrow–this is going to be an excellent piece!

xj

Hi Paula,

Here’s the breakdown of the two products–they are quite similar in terms of sizing. Esthetically, I think they are all the same (except the felt back would make the piece opaque rather than translucent. However, if the piece is going over fabric anyway, that’s not a big deal).

For the Power Plastic 20 series (http://www.konarka.com/media/pdf/konarka_20series.pdf), the options are:

1. Solderable leads
2. Konarka junction box with cable and barrel connector
3. Konarka junction box with cable and voltage regulator

Also, it’s a little bigger than I thought the standard width is about 13.38″, and the shortest length is 10.75″, so we might have to turn it so that the stripes go horizontally so that it fits on your back.

Good news: they come with corner grommets, so that will make attachment easy.

For the bag panels (http://www.konarka.com/media/pdf/konarka_20series_bagpanel.pdf), the sizing is similar: 13.62″ W x 10″ L, so again, stripes would most likely have to go horizontally.

Options for power terminals are a bit confusing, as they are listed in two different ways:

1. Solderable leads
2. Pre-wired and available with felt backing

There are also different options for the back, if I understand correctly (see the diagrams)–Option 1= Laser Ablation (i think that just refers to the grooved back); Option 2- Solderable wires; Option 3- Barrel connector

Let me know which one you think is best and I’ll place the order. FYI I think the grommet option is pretty compelling, so I would vote for the Power Plastic 20 series if all else is equal.

Hopefully it is not too expensive … probably not since there’s a company out there selling bags with the panels already: http://www.travelerchoice.com/category.php?cid=110&xcSID=ef1jdrlfvt5h6pqqqe2bkvgka7

Now it’s time to go get a Chinese visa.

xo,
Jamie

Hi Paula,

Design1

Design 1:

Design2

Design 2:

Design3

Design 3:

Design4

Design 4:

Design 5

Design 5:

PAULA: Jamie,
First off, I love ALL the sketches and got a flourish of joy when I unzipped them. Some stand-outs likes: flange bodice, clear vinyl, stripes, and design 4’s back. Crotch and elbows reinforcements would be nice.
I’ve attached some ‘drawings’ that convey a feeling more than design/sewing realities.
!!!!!
xoP

paula j wilson in coveralls

SOLAR panel chosen and garment constructed

Our Final Choice: Keystone Eco SPF5

JAMIE: hahahha! i love that you are wearing it with layers, for a year-round look. this is awesome.

***

Jamie doing some final alterations.

Photo: Milu Abel

View Project on Jamie Hayes.com

Yale University Art Gallery

Happy and Bob Doran Artist-in-Residence Program

The Happy and Bob Doran Artist-in-Residence Program enables one or more artists each year, at a pivotal point in their careers, to explore new avenues of thinking and image making by availing them to the intellectual and physical resources of the University.

As Jock Reynolds, Henry J. Heinz II Director of the Gallery has stated, “The Gallery is broadening its support of living artists by offering them specific opportunities to engage the full array of Yale’s remarkable resources – its many magnificent collections and human intellectual resources. This initiative should surprise no one, for this teaching museum was founded with the collection of a living artist’s work back in 1832 (Colonel John Trumbull’s famed American history paintings and portraits), and has continuously expanded its artistic holdings and educational mission based on the contributions that myriad visual artists have made to world culture. Artists invited to conduct research at Yale will henceforth receive the same kind of strong support offered to other esteemed scholars in the sciences and humanities at our university. The Happy and Bob Doran program is being fully endowed and will grow in time, thus providing this invaluable service to visual artists in perpetuity.”

The residents spend four weeks or longer during the academic year in New Haven exploring the research and technological facilities of the University as well as interfacing with their intellectual counterparts in a broad range of academic disciplines.  Their presence on campus over an extended period of time will enable undergraduate and graduate students to observe artistic process and will encourage the students to explore interdisciplinary connections in their own studies.

Each resident artist will engage students in their research and creative process.  This may be in the form of an informal discussion, studio critique, or gallery talk.  Additional art projects may also result from the residency, but are not integral to its definition, and may take the form of an artwork, publication, exhibition installation, cd, or alternate programmatic initiative.

There is not an application process for the program and the artists are invited to participate in the residency by the Gallery’s Curator of Modern and Contemporary Art in consultation with the Director, Deputy Director of Programs and External Affairs, Curator of Academic Initiatives, Associate Curator of Modern and Contemporary Art.  Artists, working in any medium, are selected for the quality of their work and the potential the residency offers for nurturing and enriching their practice.