The Mohr Visiting Artist program brings acclaimed and emerging artists to campus for a one-term period to teach a credited course and provide a presentation, exhibition or performance for the Stanford community and the public. The Department of Music and the Department of Theater and Performance Studies each host one Mohr Visiting Artist per year.
The Mohr Visiting Artist Program is supported by Nancy and Larry Mohr
Mikéah Ernest Jennings
Hosted by the Stanford University Theater and Performance Studies
It was onstage at Paramount Studios during the “Salute to the Winners” — an event celebrating the annual high school acting competition sponsored by the Drama Teachers Association of Southern California (DTASC) and hosted by Kevin Spacey — that a young Mikéah completely lost his mind and decided to turn his passion for acting and performance into a career.
Mikéah’s path as a performer has had its ups and downs much like the uneven dirt roads he grew up exploring. He graduated from the University of San Diego, California with a degree in Communications. He moved to New York in 2001 with a one-way plane ticket, and a month-long sublet, two suitcases and a teddy bear named Pepi.
Mikéah found New York to be more than a match for his indefatigable spirit, and a country boy’s hunger for experience. With his uninhibited approach to performance, fearless physicality, wild personal style, and unruly hair the work came quickly. Mikéah has been dividing his time building his commercial career with spots for Lipton Tea, and New Balance footwear; as well as touring the US, and Europe with a number of innovative writers and directors such as: Caden Manson/Big Art Group, Young Jean Lee’s Theater Company, and Jay Scheib. Mikéah is excited to continue building his film career having appeared in a number of independent film projects such as; Failing Better Now, Things That Go Bump In The Night and The Record Deal. He continues to pursue exciting new projects from contemporary playwrights and filmmakers; as well as performance art installations, site specific theater pieces, and music videos for some of NYC’s hottest recording artists.
Mikéah is 28% real, 10% recycled plastics, 42% imagined circumstances colliding with ubiquitous terrestrial matter and discarded tires. He enjoys watching horror movies in the afternoon, eating breakfast late at night, and enjoying the sunrise at dawn. http://mikeahjennings.com
Previous Visiting Artists:
Hosted by the Stanford University Theater and Performance Studies
Haruna Lee (TAPS MOHR VISITING ARTIST 20-21) is a Taiwanese-Japanese-American theater maker whose artistic process is rooted in a liberation-based healing practice. Their plays are often portals into personal and collective stories navigating transcultural experiences and memories, as well as conflicts that arise when grappling with the simultaneity, contradictions and pluralities of those lived experiences. Through different artistic and teaching modalities, they promote arts activism and emergent strategies for the theater through process-based collaborations that directly challenge coloniality and legacies of power. Between 2010-2019, Lee helmed the work of their company harunalee, an ensemble of theater makers and designers who created experimental plays and performances written and directed by Lee. With an eye for handmade and craft objects, they often created epic visual landscapes and immersive environments together. Lee’s standalone play Suicide Forest (Bushwick Starr & Ma-Yi Theater Company) was published by 53rd State Press and hailed by the New York Times as "Vivid, haunted, heart-stingingly tender and explicitly personal...A wild ride of a production" (NYT Critic’s Pick) and appeared on New York Magazine/Vulture’s top 10 shows of 2019. Other plays include plural (love) (New Georges, Soho Rep Writer/Director Lab), and Memory Retrograde (The Public’s Under the Radar Festival Incoming! Series, Ars Nova Makers Lab, Brooklyn Arts Exchange). Lee is a recipient of a MacDowell Fellowship, A Map Fund grant, Lotos Foundation Prize for Directing, a New Dramatists Van Lier Fellowship, and has received support from the Mental Insight Foundation, FCA, NYSCA, and the NEA. As a performer, they’ve worked with Aya Ogawa, Minor Theater, The Drunkard’s Wife, Taylor Mac, Mac Wellman, Rachel Chavkin, César Alvarez, Kate Benson & Lee Sunday Evans, and Anohni — among many others. They were a member of the 2019 artEquity cohort, a national facilitation training for artists and activists. Lee has taught playwriting and performance at the Experimental Theater Wing and Playwrights Horizons at NYU, PACE, CUNY, and Abrons Arts Center.
Hosted by the Stanford University Theater and Performance Studies
Sara is a New York based artist, designer and teacher. Her work investigates boundaries and rules, transformation and surprise, and the shifting expectations of audience and performer. Sara’s designs have been presented in Germany, Ireland, Scotland and France, and she recently designed and co-directed the North American tour of Emily's D+Evolution for the Grammy Award winning musician Esperanza Spalding. Her design work has been presented in New York at Lincoln Center, St Ann’s Warehouse, PS122, the Ontological-Hysteria Theatre, The Kitchen, New York Live Arts, Women’s Project, and Classic Stage Company; as well as across the country including A.R.T., The Wexner Center, The San Diego Museum of Art and the Institute of Contemporary Art/Boston. She helped create Queen of the Night (as Head of Design), a large scale immersive theatre/circus/food experience built in the Diamond Horseshoe, the new club in the Paramount Hotel in Times Square. New York Magazine called it “New York’s hottest nightlife event”. She won a New York Dance and Performance award (“Bessie”) for 837 Venice Blvd. with Faye Driscoll Group. Her work with choreographer Faye Driscoll has toured to the Wexner Center for the Arts, UCLA, the ICA/Boston, CounterPULSE, the American Dance Festival, and The Yard. Her design for Get Mad at Sin! (directed by Jeff Larson, conceived and performed by Andrew Dinwiddie) was a NY Times Critic's Pick and toured to the TBA Festival in Portland OR, The Fusebox Festival in Austin, TX and took over the parking lot of the San Diego Museum of Art with a revival tent. She designed the Obie award-winning Great Lakes for Lee Sunday Evans, and an immersive house party musical called The Bad Years for Stephen Brackett. She has worked with comedians Jerry Seinfeld, Colin Quinn, and Hasan Minaj, and was Associate Designer on a new ballet with Basil Twist, "Dorothy and the Prince of Oz". She is a member of wolf 359 in NY and Resident Designer at Wellfleet’s Harbor Stage Theatre on Cape Cod. Her designs have been presented at the Prague Quadrennial and she has designed books, bookstores, and zoo exhibits. B.A. Loyola University Chicago. M.F.A. New York University.
Hosted by the Stanford University Theater and Performance Studies
Jonah Bokaer, born to Tunisian & American parents, has been active as choreographer & exhibiting artist since 2002. The author of 60 works in a wide variety of media including dances, videos, motion capture works, three interactive installations, four mobile applications, and one film, shown in 31 nations, 24 of the United States, and 292 cities, Bokaer is the most widely acclaimed choreographer to have emerged since the post-modern era, and the first to pioneer Dance Apps.
His work has been produced regularly throughout venues in Belgium, Bulgaria, Canada, Cuba, Croatia, Denmark, France, Germany, Greece, Holland, Hungary, India, Italy, Luxembourg, Poland, Spain, Switzerland, Thailand, Tunisia, the United Kingdom, and the United States. With the support of the Ford Foundation’s Freedom of Expression Unit, he has also partnered to bring choreography to areas of the developing world, which traditionally have not enjoyed dance-touring opportunities, enlarging the reach and access of contemporary dance internationally.
Recent engagements include two seasons at the Jacob’s Pillow Dance Festival, the Festival d’Avignon in France, Théâtre de la Cité Internationale in Paris with the Hermès Foundation, the Festival di Spoleto, Italy, and the BAM Next Wave Festival, for which he was commissioned for the inauguration of BAM Fisher. Upcoming engagements include the inauguration of Toyo Ito’s architecture in the Western Hemisphere (Puebla, Mexico), the Brisbane Festival (Australia), La Biennale de Lyon (France), Frank Gehry’s Fondation Louis Vuitton (Paris, France), and an independent production along the sinai Red Sea, exploring the meeting point of African, Arabian, and Mesopotamian cultures. He also appears yearly in NYC and Brooklyn. Creating choreography for museum spaces since 2002, Bokaer has been commissioned by at The Solomon R. Guggenheim Museum, P.S.1 MoMA, The New Museum, the Museum of Arts and Design in New York City. He has worked closely with performing arts curators for programs at The Asia Society (2011, 2014), Le Carré d’Art à Nîmes, IVAM Valencia, Kunsthalle St. Gallen, MUDAM Luxembourg, and La Triennale di Milano. Currently, the National Museum of Serbia is commissioning Bokaer to respond to Middle Danube Prehistoric Cultures, with ten partners: National Museum of Serbia, Vukovar Municipal Museum, Museum Lepenski Vir, the newly opened Museum of Vucedol Culture, Archaeological Museum Zagreb, Museum of Banat in Timisoara, University of Zagreb, University of Babe-Bolyai University of Cluj-Napoca.
In 2008-2009 Bokaer became the first dance artist to be appointed a Young Leader of the French American Foundation, in acknowledgment of his efforts to develop Chez Bushwick, and CPR, two independent arts centers which nurture young artists in New York City and internationally, which impact 1,100 and 342 Artist / Members respectively, each year. Bokaer has collaborated with other artists including Daniel Arsham (2007-present), Anne Carson, Merce Cunningham, Robert Gober, Anthony McCall, Tino Sehgal, Lee Ufan (Guggenheim Retrospective 2011), Robert Wilson (2007-present). As choreographer for Robert Wilson, opera works include “Faust” (Polish National Opera), “Aïda” (Teatro dell’Opera di Roma), “KOOL” (Japan/USA Guggenheim), “Fronteras” (IVAM Valenica), “On The Beach” (Baryshnikov Arts Center). Recent Prizes include the Guggenheim Memorial Fellowship in Choreography; USArtists Fellow in Choreography (Ford Foundation); NYU CBA Fellowship (for Royal Ballet of Flanders); Civitella Ranieri Foundation (Visual Arts, Italy), and the National Theatre of Serbia Prize (for Rules Of The Game, 2017).
Hosted by the Stanford University Department of Music
Joshua Redman is one of the most acclaimed and charismatic jazz artists to have emerged in the decade of the 1990s. Born in Berkeley, California, he is the son of legendary saxophonist Dewey Redman and dancer Renee Shedroff. In 1991 Redman graduated from Harvard College summa cum laude, and had already been accepted by Yale Law School, but deferred entrance for what he believed was only going to be one year. He moved to New York, and immediately found himself immersed in the burgeoning jazz scene. Five months later, Redman was named the winner of the prestigious Thelonious Monk International Saxophone Competition. Since then, Joshua has worked and played with a vast array of jazz luminaries, released twenty-one jazz albums (Warner & Nonesuch), been nominated for a Grammy six times, and has garnered top honors in critics and readers polls of DownBeat, Jazz Times, The Village Voice and Rolling Stone.
The Stanford University Department of Art & Art History hosted Guillermo Galindo during the spring 2018 term as the seventh Mohr Visiting Artist.
Through the history of music, sound art, acoustic ecology, literature, film, visual arts and performance, this course will examine the territory where sound meets space, sight, symbol, ritual, activism, self consciousness and language. Students will engage in conversations, experiments and exercises that will enhance their awareness of the sonic phenomena and the ¿time canvas¿ as a space of creation and communication.
The extent of the work of experimental composer, sonic architect, performance artist and visual media artist Guillermo Galindo, redefines the conventional limits between music, the art of music composition and the intersections between all art disciplines, politics, humanitarian issues, spirituality and social awareness. Galindo’s artistic practice emerges from the crossroads between sound, sight and performance and includes everything from orchestral compositions, instrumental works and opera, to sculpture, visual arts, computer interaction, electro-acoustic music, film making, instrument building, three dimensional installation and live improvisation.
His acoustic compositions include major chamber and solo works, two symphonies commissioned by the UNAM (Mexico university symphony orchestra), the Oakland Symphony orchestra and choir, and two operas with libretto by Guillermo Gomez Peña and Anne Carson.
Galindo's graphic scores and three dimensional sculptural cybertotemic sonic objects have been shown at major museums and art biennials in America, Europe, Asia and around the world including documenta14 (2017), Pacific Standard Time (2017) and CTM Festival (2017). His work has been featured on: BBC Outlook (London), Vice Magazine, (London), RTS Switzerland, National Public Radio (U.S.), CBC (Canada), California Sunday Magazine (U.S), Reforma Newspaper (Mexico), CNN and the New York Times.
Border Cantos, an award winning book published by Aperture Foundation and a traveling exhibit featuring a unique collaboration between Guillermo Galindo and award winning American photographer Richard Misrach featuring Galindo’s sonic devices and musical scores made from detritus left behind by immigrants has been shown at the San Jose Museum of Art (2016), Amon Carter Museum (2016), Crystal Bridges Museum, (2017) and Pace Gallery in New York (2017).
On 2017 Galindo is invited to participate in documenta14, where his work is shown, both in Athens, Greece and in Kassel, Germany. For documenta Galindo continues building sonic devices and graphic scores, this time, from belongings of European refugees. Among other sonic pieces, his series Echo Exodus, he creates the piece Fluchtzieleuropaschiffbruchschallkörper from two wreckage immigrant boats he found in the island of Lesbos, Greece bringimg them to Germany where he turns them into sonic totemic devices.
His solo exhibit “Sonic Botany”, an installation commenting on the corporate colonization of the microword, is presently showing at the Huntington Library in Pasadena, California as part of the Getty’s Pacific Standard Time. Guillermo Galindo’s was recently commissioned by the Kronos Quartet Fifty for the Future program. His interactive string quartet Remote Control will be premiered by on April 2018 in San Francisco, California. He has also been invited as a Mohr Visiting Artist resident artist at Stanford University during the Spring 2018. This Fall 2017, he will be performing and presenting his work at the Rusk Festival in Finland.
Tuesday May 15, 2018
Galindo will do his best at explaining his process and include a little instrument demonstration. By being lost forever, he came to collaborate with Richard Misrach in Border Cantos, then presented his work at Documenta 14, and recently composed an interactive string quartet for Kronos.
The Stanford University Department of Music hosted Majel Connery during the winter 2016 term as the sixth Mohr Visiting Artist.
How might we imagine string quartet as a theatrical genre? This thought experiment informs a collaboration between Mohr Visiting Artist Majel Connery, Pulitzer Prize-winning composer Caroline Shaw, and the Saint Lawrence String Quartet. This seminar serves as a laboratory for that collaboration, offering a forum to explore side by side with Connery, SLSQ and Shaw the conceptual origins of the project and soliciting students¿ creative involvement. Orbiting around signal works for string quartet and voice, the course combines the critical rigor of graduate-level work with the practical grit of a studio workshop, and culminates in a suite of student performances.
Majel Connery is a vocalist, composer and musicologist. She is also co-founder and director of Opera Cabal, an arts think tank for the conjunction of academic and creative work on opera. Under her leadership, Opera Cabal commissioned and produced Pulitzer Prize-winner Caroline Shaw's "Ritornello," and mounted the world stage premiere of Georg Friedrich Haas's ATTHIS, called "one of the most searingly painful and revealing operatic performances in recent times" (New York Times). Connery's composer collective, Oracle Hysterical, releases its first album, "Passionate Pilgrim," on Vision into Art/NAXOS this December, and is finishing a commission from Grammy-nominated ensemble A Far Cry. This academic year Connery is Mellon Visiting Artist (with Ken Ueno) at the Susan and Donald Newhouse Center for the Humanities at Wellesley College; artist in residence at National Sawdust with Oracle Hysterical and New Vintage Baroque (Brooklyn, NY); and curator in residence at the Starline Social Club (Oakland, CA). Recent honors include a USA Artist Fellowship nomination, and a New Music USA Award (with Oracle Hysterical). Connery recently completed a position as Mellon Postdoctoral Scholar and Visiting Assistant Professor in the Department of Music at the University of California, Berkeley. She graduated from Princeton University with an A.B. in music composition and holds an M.A. and Ph.D. from the University of Chicago in ethnomusicology and musicology. majelconnery.com
Monday March 13, 2017
CCRMA Stage, The Knoll
The Stanford University Department of Art & Art History hosted documentary filmmaker Natalia Almada during the winter 2016 term as the fifth Mohr Visiting Artist.
This course proposes to look at how even the most seemingly objective films are shaped by a subjective eye. An eye which is molded by gender, race, culture and class - all of which influence the entire film-making process and experience from how something is framed to how it is cut and and how it is perceived it. How we look at something, for how long we look at it and in what context we are shown something is as important as what we are looking at. Similarly the subjective eye of the viewer shapes how he or she understands and interprets the film. Whether the viewer is an insider or outsider to the subject completely changes expectations and reactions to the film. So then what are we really talking about when we talk about documentary films? What makes a documentary a documentary? Why is such a categorization valuable? Necessary? Useful? The course will combine analysis of films, theoretical texts, and some practical "production" exercises.
MacArthur Fellow and recipient of the 2009 Sundance Documentary Directing Award for her film “El General,” Almada’s most recent film “El Velador” premiered at New Directors/New Films and the Cannes' Directors' Fortnight. Her previous credits include “All Water Has a Perfect Memory,” an experimental short film that premiered at Sundance in 2002 and “Al Otro Lado,” her award-winning debut feature documentary that premiered at the Tribeca Film Festival in 2005.
Almada’s films have screened at Documenta13, The Museum of Modern Art, The Guggenheim Museum and The 2008 Whitney Biennial. All three feature documentaries have broadcast on the award-winning series POV. Almada has received the Guggenheim, USA Artists, Alpert and MacDowell fellowships. She is currently in post production of her first fiction film "Todo lo demás" (Everything Else) starring Academy-award nominated actress Adriana Barraza. Almada graduated with a Masters in Fine Arts in photography from the Rhode Island School of Design and currently lives in Mexico City and San Francisco.
Tuesday February 9, 2016
McMurtry Building, Oshman Hall
The Stanford University Department of Theater and Performance Studies: Dance Division hosted New York based artist Grisha Coleman during the fall 2014 term as the fourth Mohr Visiting Artist.
The term ‘hybrid action’ introduces the notion of movement, expressed in both the physical and virtual worlds. What is physical intelligence? How could we cultivate it? What technologies can extend sensory awareness, and which can suppress it? How can better understanding of human movement impact a creative/design process?
This class takes human movement as a practice based [experiential], creative, theoretical, historical, and philosophical realm of study. Working within a somatic framework, this course introduces basic principles and practices of body awareness approaches that emphasize sensory experience along with basic anatomical knowledge as a way to extend one’s ‘physical intelligence’. Importantly, the class asks how movement study can inform creative practices from computer programming to engineering to choreography, as well as applications in health and rehabilitation, cognitive and neuroscience, philosophy and literature.
Literature around theories of embodiment come from a variety of disciplinary fields, giving the course a broad approach to understanding how we use movement and the body to engage in our world and with digital systems, putting experiential design at the forefront.
In parallel, students are introduced to 1] interactive technologies developed to extend possibilities for sensing, analyzing and responding to movement [e.g. Max/Msp, Processing, Kinect, camera tracking,] and 2] literature in the field that looks at current work and contextual writings in critical cultural and media studies, philosophy, sciences and historical texts.
The class emphasizes hands-on, individual and collaborative projects through research and prototyping. Through practice-based research, the projects encourage students to develop strategies for designing, developing and building hybrid [physical/digital] projects – or ‘experiential media systems’. This work leverages the movement investigation as a way to innovate in the function and design of digital technology, while the technologies and their constraints also have implications for the way that we move in the world. The work is given context and direction by how these hybrid systems may be applied in a social context [e.g. health, arts, design, education]. Final projects are expected to be collaborative and more complex in scale, development and design.
Short readings, written responses, and in-class discussion are part of the critical response to concepts of embodiment from literature, the arts, human-computer design, philosophy, linguistics and neurosciences.
Grisha Coleman, Assistant Professor of Movement, Computation and Digital Media in the School of Arts, Media + Engineering and affiliate faculty in the School of Film, Dance and Theatre (both in the Herberger Institute for Design and the Arts) at Arizona State University, is a dancer, choreographer, and composer in performance and experiential media systems. Her work has been recognized nationally and internationally: she is the recipient of a 2012 National Endowment for the Arts [NEA], and an Arts in Media grant. Other notable awards and honors include grants from the Rockefeller Multi-Arts Production (MAP) Fund, The Creative Capital Foundation, The Jerome Foundation, and The New York Foundation Artists’ Fellowship (NYFA). A graduate of the College of Letters at Wesleyan University, with an MFA in Composition and Integrated Media from California Institute of the Arts, she was a member of acclaimed dance company Urban Bush Women [1990-1994], and subsequently founded the music performance group HOTMOUTH, which toured extensively nationally and internationally, and was nominated for a 1998 NYC Drama Desk Award for “Most Unique Theatrical Experience.” She is a current member of the board of directors for Society of Dance History Scholars.
The Stanford University Department of Theater and Performance Studies will host New York based artist Basil Twist during the spring 2014 term as the third Mohr Visiting Artist.
Creative course is an introduction to puppetry with a survey of important styles and techniques from around the world including Twist’s own. Hands on and individualized experience with the aim of each student creating or contributing to a puppet or object/figure performance. Course is as broad as the individual’s creative expression. Concludes with a class showing/performance of the student’s work.
Basil Twist is a native Californian who ventured to New York over 20 years ago, and has garnered an international reputation as an audacious designer, director and performer. He creates iconic, visionary puppetry worlds with a remarkable range of style and scope appearing in intimate nightclubs to large orchestra halls. He has taught at leading Universities such as Duke, New York University, and Brown and as a guest lecturer of the US State Dept in Russia. He has received an Obie, a Drama Desk Award, five UNIMA Awards, two Bessie Awards, a New York Innovative Theatre Award, a Henry Hewes Award, a Guggenheim, a USA Artist fellowship and was most recently awarded a Doris Duke Performing Artist Award. In 2012 Washington D.C. hosted a retrospective of his work, Twist Fest D.C. He is the Director of the Dream Music Puppetry Program at HERE in New York.
Thursday March 5, 2015
Denning Family Resource Center, The Anderson Collection at Stanford University
Mohr Visiting Artist Basil Twist will lead a discussion inspired by this outstanding collection of 20th century American Art that highlights the abstraction he has developed and created in his own works on stage.
Tuesday May 6, 2014
World-renowned director, scenographer, and puppetry artist Basil Twist will speak at this year's Mohr Visiting Artist Talk. Basil Twist is the 2013-14 Mohr Visiting Artist hosted by Stanford TAPS. The Mohr Visiting Artist Program is supported by Larry and Nancy Mohr and administered by the Stanford Arts Institute.
The Stanford University Department of Music hosted Berlin based artist Robert Henke during the spring 2013 term as the second Mohr Visiting Artist.
Using computers to build systems that apply algorithmic or stochastic processes to assist in detailed control over timbre and the creation or manipulation of musical structures and spatial properties in real-time. Topics include: Algorithmic and stochastic methods, sound design, FM synthesis, drum programming, spatialization, aesthetics, tool building, musical structures, reverberation, sequencing. Group and project based with lectures. Final live performance. Limited to 20 students.
Robert Henke, born 1969 in Munich, Germany, is a multidisciplinary thinker, composer, sound designer, software developer, installation artist and audiovisual performer. His art is focused on carefully shaped details behind the surface and gradual changes of repeating structures in different time scales. Henke places equal importance on the interaction between audiovisual arts, and the physical spaces in which they take place. He is currently exploring new technologies such as wave field synthesis and ambisonics, and makes use of large-scale high-resolution projections to create situations of total immersion and either decouple the spatial experience from a given space or enhance its inherent properties. Many of his works are defined as potentially endless and slowly evolving states, thus inviting the audience to immerse themselves completely for a freely defined amount of time. His sonic explorations are rooted in academic sound research and computer music as well as in contemporary club culture. With his collaborative musical project, Monolake, he helped shaping what later became ‘the sound of Berlin’s techno music’, whilst his more conceptual works are frequently performed or exhibited at art galleries and festivals.
Friday May 24, 2013
Bing Studio, Bing Concert Hall
Dust is about the exploration of noisy, grainy textures and about very slow movements of seemingly static sonic material, shredded into myriads of microscopic particles. The sources are leftovers of digital processes, noises that become even noisier, or field recordings; splashing waves captured in Australia on a beach with lots of pebbles, a massive storm, steam from a coffee machine, crackles of the lead out groove of an old record, hum and electrical discharges from a big transformer...
The Stanford University Department of Art and Art History hosted San Francisco-based artist Camille Utterback during the winter 2012 term as the first Mohr Visiting Artist.
Registrar’s listing: Examine how both individual perceptions and artistic representations of time have historically shifted with changes in technology. What are the current possibilities to extend/re-imagine how we represent time using digital tools? How do these possibilities, in turn, re-inform traditional media? This is a conceptual and experimental class with a studio focus. Examples are mainly from an art context, but include interaction design, information visualization, and scientific illustration of time-based events and processes. Students should have previous experience with a set of digital tools – Photoshop, FinalCutPro, AfterEffects, or a programming language that will allow you to digitally manipulate images. Assignments include exercises using traditional media, and digitally based projects. Occasional writing assignments also required.
Camille Utterback is a pioneering artist whose interactive installations and reactive sculptures engage participants in a dynamic process of kinesthetic discovery and play. Her work explores the aesthetic and experiential possibilities of linking computational systems to human movement and gesture in playful, yet subtly layered ways, and focuses attention on the continued relevance and richness of the body in our increasingly mediated world. Utterback’s extensive exhibit history includes more than fifty shows on four continents. Awards include a MacArthur Foundation Fellowship (2009), a Transmediale International Media Art Festival Award (2005), a Rockefeller Foundation New Media Fellowship (2002), a Whitney Museum commission for their ArtPort website (2002), and a US Patent (2001). Her work is in the collections of The La Caiza Foundation (Spain), Itau Cultural (Brazil), 21C Museum (Louisville, KY), Hewlett Packard, The Pittsburgh Children’s Museum, and other private collectors. Recently completed public commissions include works for the City of St. Louis Park, Minnesota (2009), the City of San Jose, California (2010), and the Sacramento Airport, California (2011). Utterback holds a BA in Art from Williams College, and a Masters degree from The Interactive Telecommunications Program at New York University’s Tisch School of the Arts.