Daniela Rivera - July 2021

Born in Santiago, Chile, Daniela Rivera received her BFA from Pontifcia Universidad Católica de Chile in 1996 and her MFA from the School of the Museum of Fine Arts at Tufts, Boston in 2006. She is currently an Associate Professor of Studio Art at Wellesley College. She has exhibited widely in Latin American cities including Santiago, Chile, as well as in the United States. She has been awarded residencies at Surf Point, Proyecto ACE in Buenos Aires, Vermont Studio Arts Center, and the Skowhegan School of Paintings and Sculpture.

She has been the recipient of fellowships and grants from The Rappaport Prize, Now + There, VSC, the National Association of Latino Arts and Culture, the Massachusetts Cultural Council fellowship, and the Berkshire Taconic Foundation. Recent or upcoming exhibitions include: The Andes Inverted, Museum of Fine Arts, Boston (2017–2018); Fragmentos para una Historia del Olvido/ Fragments for a History of Displacement, The Davis Museum, Wellesley College, Wellesley, MA (2018–2019); En Busca de los Andes, solo exhibition with Proyecto ACE, Buenos Aires, Argentina (June 2019); Sobremesa (Karaoke Politics), a public art project developed during her Now + There Accelerator Fellowship, Boston MA (summer/fall 2019), and Labored Landscapes (Where the sky touch the Earth) at Fitchburg Art Museum.

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See more of Daniela’s work here.

Jen Liu - July 2021

It's a means of critiquing failures of imagination about how to address pressing social problems, especially through contemporary art and film.

Above all, my motivation for using populist images, tangible props and costumes, and recognizable visual and musical modes, is to make things such as global economic infrastructures emotionally available, intimate.

My current body of work, Pink Slime Caesar Shift, builds on a speculative proposal to build a secret information network for labor activists in China through the domestic food distribution grid - through inserting covert messages into the DNA code of in-vitro beef hamburgers.

I take this proposal as seriously as possible: doing the lab work of inserting newly informative genetic code into beef cells, as well as building sealed, wearable carriers for their possible distribution in food production centers.

For when the speculative future arrives.

Work in other mediums spin out of those methods of genetic engineering.

But this is not just about China’s imperiled activists, meat as a cultural symbol, or new food technologies as solutions to environmental disaster.

This is also about the social-possibilities of re-appropriating technologies, whether it is the technologies of genetic engineering, or the technologies of narrativity.

If the hamburger patty is an industrially replicated object, and the in-vitro burger a banal sci fi concept - what “secret messages” can I stuff it with:

histories of covert political resistance

forgotten female programmers

secret languages

critique of technobabble

more?

Recombinatory approaches and mutation are overall themes.

In hybrid video-animations, industrial texts and corporate sales brochures are cut together with firsthand accounts of labor activists and factory workers:

Frankensteins that are the consequence of corporate abstractions

Genetically altered biological samples are embedded in jewelry editions

The speculative is brought down to earth, given a “real” future on “real” bodies

In choreography, industrial processes and their toxic costs are humanized

Beautiful and repulsive at the same time

In paintings, large feminine fingers push and prod the world around them

“Diagramming” the jingo and jango of global economics

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See more of Jen’s work here.

Marcia Minter - July 2021

Marcia Minter is a seasoned creative professional, dedicated arts advocate and community leader deeply committed to social and cultural activism. Her work on numerous boards represents the interest of underrepresented voices, talents and citizen constituents. She has spent her professional career as an Executive Creative Director for some of the world’s most iconic brands. Her curatorial work focuses on photography, symposiums on the intersection of art and social practice, exhibition planning and implementation. Currently, she serves on the Maine Arts Commission and is a Trustee of the Portland Museum of Art and Haystack Mountain School of Crafts.

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Glendalys Medina - June 2021

Glendalys Medina is a conceptual interdisciplinary visual artist who was born in Puerto Rico and raised in the Bronx. Medina received an MFA from Hunter College and has presented artwork at such notable venues as PAMM, Participant Inc., Performa 19, Artists Space, The Bronx Museum of Art, El Museo del Barrio, The Museum of Contemporary Art in Vigo, Spain, and The Studio Museum in Harlem among others. Medina was a recipient of a Pollock-Krasner Foundation Grant (2020), a Jerome Hill Foundation Fellowship (2019), an Ace Hotel New York City Artist Residency (2017), a SIP fellowship at EFA Robert Blackburn Printmaking Workshop (2016), a BACK IN FIVE MINUTES artist residency at El Museo Del Barrio (2015), a residency at Yaddo (2014, 2018), the Rome Prize in Visual Arts (2013), a New York Foundation for the Arts Fellowship in Interdisciplinary Art (2012), and the Bronx Museum Artist in the Marketplace residency (2010). Medina is currently a professor at SVA’s MFA program and lives and works in New York.

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Photo by Heather Henriksen

See more of Glendalys work here.

Andrea Sulzer - June 2021

From my studio overlooking the Androscoggin River in Maine, I make drawings, prints, and paintings. Sometimes these morph into three-dimensional objects. 

A desire to build a history with material, form, and ideas, alongside a determination to maintain an openness and freedom within this search, drives my work. It’s a constant pull between building a foundation and dismantling it, always trying to get closer to the underlying rhythm of and motivation for making things. 

I received my Master of Fine Arts from the Glasgow School of Art, Scotland. I also attended the Skowhegan School of Painting and Sculpture. I have had solo museum exhibitions at the Portland Museum of Art, Bowdoin College, and the University of Maine Museum of Art. I exhibited at ICON Gallery, Brunswick Maine over a span of about 20 years. My most recent solo gallery exhibition, once removed, took place at Maurer Zilioli Contemporary Arts in Munich, Germany. I also recently completed two large-scale public art projects for Maine schools through the Maine Percent for Art program. 

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Photo by Heather Henriksen

See more of Andrea’s work here.

Danielle Mysliwiec - May 2021

My creative and intellectual interests as an artist center around the durational and tactile possibilities of process-based painting. By extruding thick oil paint in small systematic marks, I slowly build highly textured surfaces that appear to be woven. Daylight is an essential component for viewing the work as the light’s constantly shifting direction, color, and quality activates the textured surfaces and colors of my paintings and brings movement and change into the viewing experience. It is important to me that my paintings resist being comprehended as static images. I want to assert paintings’ ability to offer a moment to moment unfolding. Thinking about painting as a mode of experiencing “slow time” within a digital age of instant images interests me. In this “slow time” of looking, a space of contemplative, free-associative thinking is opened, a kind of visual and intellectual infinity loop between myself and the painting. To me this is analogous to that same space I enter into when in the natural world. It can be walking through geometric patterns in the sand, watching the wavering reflections of light on a wall, seeing mica shimmer. It is in these very spaces both with my work and in nature that my work comes to me in my mind. I often think of how the paintings relate to other natural events that take place incrementally, seemingly imperceptibly, and then all at once – an earthquake, a gradient of color, a wave. I know that Surf Point will give me a unique opportunity to work with light, time, and contemplation and an expansive natural space and studio space that I do not have in my daily life.

William Marcellus Armstrong - May 2021

Marcellus is an interdisciplinary media-maker, media programmer and educator. He is invested in archives of Blackness, queerness, and their relationship to materials. Marcellus received his MFA in Fiber and Material Studies from Cranbrook Academy of Art in 2017. In 2018, he created "The 48203 Dance Show," a community based dance show project which reflected on the legacy and archive of WGPR-TV33's public access program, The New Dance Show. His work has been exhibited both nationally and internationally, including at The Sculpture Center (Cleveland), Museum of Contemporary Art Detroit, Vernon Gardens (Los Angeles), Oolite Arts (Miami) and with Good Weather at SUNDAY Art Fair (London). He has realized projects with the Detroit Symphony Orchestra and Red Bull House of Art Detroit, and has been featured in the online publications of Arts.Black and Vice's The Creator’s Project. In 2019, his first solo show, "Smoke Garments" was exhibited at Reyes Finn gallery in Detroit, Michigan. Marcellus is originally from the suburbs of Baltimore and currently resides in Philadelphia where he is a Program Manager for Scribe Video Center.

See more of William’s work here.

Carly Glovinski - April 2021

Carly Glovinski received her BFA from Boston University in 2003 and is represented by Morgan Lehman Gallery in New York. She has been awarded residencies at the Studios at MASS MoCA, North Adams, MA, Teton ArtLab, Jackson, Wyoming, and the Vermont Studio Center, and has received grants from the New Hampshire Charitable Foundation, the Berkshire Taconic Community Foundation, and the Blanche Colman Trust. She has had solo exhibitions at Colby Museum of Art, Maine; Morgan Lehman Gallery, New York; Indianapolis Contemporary; and Carroll and Sons, Boston. Her work has been included in numerous group exhibitions including at the deCordova Museum and Sculpture Park, Lincoln, MA, Center for Maine Contemporary Art, Boston Center for the Arts, Portland Museum of Art, Portland, ME, Museum of Contemporary Art, Jacksonville, FL, Utah Museum of Contemporary Art, and the Visual Arts Center of New Jersey. Her work has been published or reviewed in major publications such as New American Paintings, ArtMaze Magazine, Hyperallergic, Vice, and Maake Magazine. Carly currently lives and works in New Hampshire.

More of Carly’s work can be found here.

Crystalle Lacouture - April 2021

Crystalle Lacouture is an artist based in Boston and North Adams, MA. She received her BFA in Painting/Printmaking from Skidmore College in 2000. During the decade she lived in NYC, Crystalle was a longtime assistant to activist artists Nancy Spero and Leon Golub, a printmaker at the Lower East Side Printshop, and worked at the Academic Arts Agency, College Art Association. In addition to her full-time studio practice and other curatorial projects Crystalle is a curator at TOURISTS, a hotel near Mass MoCA in North Adams, MA. She exhibits her work throughout New England and New York and is represented by Beth Kantrowitz from BK Projects and Drive-By Gallery.

More of Crystalle’s work can be found here.

Mary Mattingly - March 2021

“The Surf Point residency has been an unforgettable experience. I can't do justice to how much appreciation I feel for this time at Surf Point. Waking up to the ocean, being able to spread out in a large studio space and make new work for three weeks has been transformative.”

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Mary Mattingly is a Brooklyn-based artist whose work explores issues of sustainability, climate change and displacement. Mattingly combines photography, performance, portable architecture and sculptural ecosystems into poetic visions of adaptation and survival. In her work, we encounter nomads laboring under the weight of their possessions. We witness their pilgrimage over parched lands and swollen bodies of water. We see refugees of a tainted past seeking out a sustainable future in the natural world. We watch as they carve out an itinerant existence, embracing simple and adaptable strategies for survival. And we see the artist sifting through the particles of her own life in search of a sustainable footprint. In her ambitious multi-media projects, Mary Mattingly aspires to do more than issue a warning about environmental neglect and its aftermath. She offers specific solutions and architectural prototypes that we can build upon in our pursuit of a better life. She inspires hope that we can prepare for a changing world through innovative design and a restorative relationship with nature. Are we ready to embark upon the great migration of our time, from the shortsighted habits of the past to the nimble and sustainable ways of the future?

More of Mary’s work can be found here.

Baxter Koziol - March 2021

“I know I will feel the ramifications of my time at Surf Point every time I'm in the studio. It’s one of those places.”

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Baxter Koziol studied painting at Maine College of Art (BFA 2017) and has attended residencies at the Skowhegan School of Painting and Sculpture, Monson Arts, Hewnoaks, and the Ellis Beauregard Foundation. He lives and works in Portland, ME.

More of Baxter’s work can be found here.

Sascha Braunig - February 2021

“Each day at Surf Point, I woke up to the bright daylight and a feeling of possibility and excitement. After a year of collective grief, I thought a lot about geologic time versus human lifespans, i.e. creativity and mortality, thoughts that were sometimes mournful but other times liberatory. Whether or not I acted on these potentialities, I experienced a creative opening that was completely distinct from my usual studio routine. I believe the combination of the location of the building on the Atlantic coast and the benevolent spirit of its designers and former occupants, Beverly and Mary-Leigh, form a heightened receptivity to creative thought. I took the glow of this feeling back to normal life and it continues to infuse my activities.”

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Like many painters before me, I’m interested in the confines of the canvas, a necessarily restraining space. I ask questions of this historically masculine rectangle: in what ways can the femme figure occupy the frame? Is this relationship inevitably a sadomasochistic one, with its preconditions of boundaries and control? Within the shallow boxes or voided theatrical backdrops of my work, my subject’s relationship to the frame that tightly confines her has grown from the pessimistic immobility of "Hide" or "Tenterhooks" to the fledgling boundary-testing of "Unseen Forces". Although these issues of framing and figuration, based in art history, still fascinate me, over the last three years I’ve introduced the image of the witch and gestures derived from ancient Near Eastern fertility goddesses ("The Offering") in order to propose these questions in an explicitly feminist way. I feel urgently compelled to make images of powerful female figures that simultaneously acknowledge the unstable conditions under which that power can exist. Their postures are strong, sometimes menacing ("The Witch") and sometimes playful ("The Curtain") but they also appear to be made of provisional materials such as paper, fabric, and plastic - or neon, the ultimate shortcut lure to pleasure. As I navigate these shifts in subject matter, I’m also tackling larger-scale paintings with more complex compositions. It’s exciting and challenging to take on more ambitious elements, but it’s also a learning process and I’m still a student of my expanded scale.

More of Sascha’s work can be found here.

Erin Johnson - January 2021

“My time at Surf Point was invaluable. The rhythm created by the view of the ocean, and architectural layout of the house itself, moved me and my work - gently, but with persistence.”

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Erin Johnson's video installations blend documentary, experimental, and narrative filmmaking devices, and foreground the ways in which individual lives and sociopolitical realities merge. Comprised of footage of site-specific performances, the films explore how power structures are communicated through relationships, focusing on the complexity of collectivity, the wide-ranging consequences of scientific research, as well as resistance, desire, and the queer body. While at Surf Point, Erin filmed a new chapter of her ongoing video project surrounding Rachel Carson's letters to her friend and lover Dorothy Freeman. Set in Surf Point's building, the completed film will shift between the interior and exterior of the modernist duplex as it moves between the past and present, exploring the urgency and loss Carson felt in both her environmental research and romance. In addition, Erin edited and scored a new body of work for an installation in Times Square, and worked on the sound design for a piece shot in 2020.

More of Erin’s work can be found here.

Dennis RedMoon Darkeem - December 2020

“In a moment of chaos & uncertainty, I received a phone call that I was accepted for the SPF residency. I was ecstatic for the good news. Overwhelmed with curiosity and joy for this new experience. Arriving at the home feeling overwhelmed with honor, joy and freedom. During my time at the residency I was able to photograph, hike, paint, collect shells off the beach, play loud music, dance around, jump, listen to the night winds, play with stones, see places I would never have seen, meet amazing individuals, have great talks with fellow artists, made a basket or two, make collages, learn how to make rope from plants, do some reading, think about the future of my artworks, create sculptures that turn into a performance art piece, made a video...I was able to teach from my studio, create curriculum and lessons for my students involving nature, meditation and transformation. I had seafood, ordered food, had great studio visits, met other arts organizations, made a snowman, experienced a Maine snowstorm and hours of no Wi-Fi. Being able to wake up to amazing sunrises and walk along the ocean front has given me a new body of work, a deeper love of nature, water, and a transformation that was needed for me to create and learn.”

Image by Heather Henriksen

I am inspired to create artwork based on the familiar objects that I view through my daily travels. I discover elements in existing architecture and among everyday items found within the home. I ultimately set out to express a meaningful story about events in my life and those found with the communities I work. I utilize different media in the creation of my work. This allows for great versatility and a rich viewer experience as the eye uncovers the multiple layers that often characterize mixed media art. Since my work as a professional artist commenced in the early 2000s, it has evolved into critiquing social and political issues affecting US and indigenous Native American culture. Much of my art has focused on issues like institutionalized racism and classism, jarring stereotypes, and displacement of people of color. As a multimedia artist, I express these motifs through fine art, drawings, paintings, collages, photography, sculpture, and installations. Incorporating a craftwork aesthetic has connected tradition with the contemporary. This is prevalent in many of my pieces. I seek to create a discussion through color, texture, symbolism, and geometric designs. This Residency will allow me to explore the historic value of the community and begin to build visual symbolism of cultures that have migrated and left cultural icons through the environment. The benefit of taking part of the residency will allow me the time and space to focus on creating work that I can exhibit. My goal for this residency is to create a small body of work that consists of transforming everyday items into my narrative of Afro- Indigenous expressions. Incorporating a mix of elements from shells , beads, leather, Crystal's, feathers, natural elements wood, branches, Vines Stones along with traditional materials like watercolors, pencils,cray. These artifacts will have dual use cross between body adornment and sculpture work. This work will give honor to communities that have been lost but not forgotten. My goal is to give life to these artifacts that they may empower and create questions on one's connection to their own history.

More of Dennis’ work can be found here

Yevgeniya Baras - December 2020

“Surf Point is a place that links the resident artist to a number of histories: the biography of the studio and building where art has been made and ideas have been exchanged for decades, to Maine where so many artist colonies have thrived throughout time. This is very palpable and special to experience, that lineage. And in addition to history there is the austere and powerful nature that seeps into the studio. Its sounds and geometry are inescapable. The residency is a fantastic place to reflect and make work, near the rugged and timeless coastline, in the presence of remarkable histories.”

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In researching Surf Point residency, I found myself interested specifically in the landscape. I am inspired by the coast, the rocky textures, the openness and vastness of this land. Also the light really left an impression on me. I am excited at the potential of being immersed in this environment. One of the main themes in my paintings is landscape. Nature is often edited, simplified: sky ground, moon, sun. Landscapes are not typically done from observation. The result is a kind of symbol of a landscape. I also assign pictorial emblems to individual elements of nature. Over and over do I find so much mystery and awe in the landscape. I recall the feeling of smallness as a human in the desert of Sahara, in the mountains in Greece but these journeys are infrequent. In actuality I am so rarely outdoors. I live in Queens where the environment is industrial. I do not have time to observe slowly because of the speed of everyday existence in New York.

Yevgeniya Baras is an artist living and working in New York City. She is represented by Nicelle Beauchene Gallery in NY and the Landing Gallery in LA. Yevgeniya is a 2019 recipient of the Guggenheim Fellowship, the Pollock-Krasner grant and the Chinati Foundation Residency in 2018, and the Yaddo Residency in 2017. She received the Artadia Prize and was selected for the Sharpe-Walentas Studio Program and the MacDowell Colony residency in 2015. In 2014 she was named the recipient of the Rema Hort Mann Foundation’s Emerging Artist Prize. Her work has been reviewed in the New York Times, LA Times, ArtForum, and Art in America. Yevgeniya's current solo exhibition is  in LA at the Landing Gallery. Her next exhibitions are at Inman gallery in Houston and Station gallery in Sydney. Yevgeniya co-founded and co-curated Regina Rex Gallery on the Lower East Side of NY (2010-2018). Yevgeniya  has curated and co-curated over twenty exhibitions at Regina Rex and other galleries in NY, Chicago, and Philadelphia. She has a BA and MS from the University of Pennsylvania (2003) and an MFA in Painting and Drawing from the School of the Art Institute of Chicago (2007). Yevgeniya teaches at RISD and Sarah Lawrence College.

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More of Yevgeniya’s work can be found here

Suzy Delvalle - October 2020

“The SPF residency was just what I needed to recover, refocus and REGENERATE! Muchas gracias por esta oportunidad!”

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Susan (Suzy) Delvalle is a fierce advocate for art and artists. With over 20 years of leadership experience in the cultural sector, she has committed her career to enhancing the impact of mission-based organizations and building opportunity and equity in the arts. She most recently served as President and Executive Director of Creative Capital, an innovative arts nonprofit that adapts venture philanthropy concepts to support individual artists. Only the second Director in Creative Capital’s history, Suzy oversaw some of the most dramatic changes in the organization’s two-decade history. Under her leadership, Creative Capital increased its annual operating budget 20 percent by instituting a three-year fundraising cycle, further developed the board with ten new active members while also establishing a National Advisory Council, and expanded services to artists by instituting regular, annual Creative Capital Awards and retreats.

Suzy formerly served as the founding Director of the Sugar Hill Children's Museum of Art & Storytelling, where she oversaw all aspects of the development and opening of the museum. She previously served as Director of External Affairs and Development at El Museo Del Barrio, where she dramatically increased the museum’s budget and attendance over her eleven-year tenure. Before joining El Museo, she worked for American Composers Orchestra following a career in consumer banking and advertising. Suzy has served as adjunct faculty at NYU's School of Continuing and Professional Studies and is a guest lecturer at several universities. She serves on the Board of ArtTable, New Yorkers for Culture & Arts, The Laundromat Project and is a member of The Metropolitan Museum’s Advisory Committee in Culture Engagement. She was born and raised in Curaçao and speaks Spanish, Dutch, and Papiamento.

While at Surf Point, Suzy plans to work on an initiative on US-Latinx art and artists to address their lack of representation in US scholarship, galleries, museums, institutions, and the sector at large. The voice and perspectives of artists from Latinx and Caribbean communities have long been marginalized, while demographically they represent the second largest majority in the US. They provide alternative, nuanced representations of the many facets of their communities and contributions to the fabric of this country, and the range of issues that Latinxs face today. While there are a few actively working groups addressing certain components, there is a need to gain a larger-picture understanding of the major gaps in the field, and determine a multi-prong, proactive agenda to leverage efforts. Suzy will focus her time on research, coordination and navigation of a more expansive and inclusive plan to proactively bridge gaps and address these needs both short- and long-term.

photo credit: Ariana Lindquist

Meghan Brady - October 2020

“Surf Point was more than I had allowed myself to hope for. The absolute beauty and otherness of its location and story was not clear to me until I relaxed into my residency. And I think that's what I got most from it - a kind of permission to let myself be and do what I needed to do. In other words, to relax! To relax back into my mind and spirit. I felt no exterior pressure to perform, achieve, reach and that was an unexpected gift. I had time to paint and work but also to write, read, think, and wander around in the woods and daydream.”

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Meghan Brady, a painter, is based in Midcoast Maine.  Through painting, printmaking, and drawing-installations, Brady explores the possibilities of a wide-ranging practice.  Recent shows include ‘Said + Done’ at Mrs. Gallery in NYC, ‘Reversible Roles’ at University of Maine Museum of Art, ‘Take Five’ at SUNY Buffalo Anderson Gallery, NADA House Governors Island NYC and ‘Second Hand’ at Space Gallery in Portland, Maine. She’s recently been in residence at MacDowell and Tiger Strikes Asteroid NYC. Brady is a graduate of Smith College and Boston University. 

“Recently I’ve been mulling over questions of how to incorporate human form into an otherwise abstract image. Can I use compositions and arrangements of these forms that are based on outsider sources (early New England gravestone patterns, Shaker Gift Drawings, traditional women’s handiwork and textiles)? And in spite of my assumptions against it, can I create a body of work that holds the balance between abstraction and representation? In the last two years, I've been making wall-scaled paper paintings as a way to work through a backlog of painting ideas. From here, I’ve opened up my process by making cut and collaged canvas pieces on the floor. They are painted, rearranged, and glued and then painted again. There is an ongoing sense of discovery and freedom in this method. But I am ready to bring the project back to oil paintings on stretched canvas.”

More of her work can be found at MeghanBrady.com.

Shannon Finnegan - September 2020

“I am grateful for places like Surf Point that give artists space and resources with the trust that they will use that support in the ways that best suit their needs. Artists need project-based support but we also need support to research, rest, dream, and plan. These things are vital to the sustainability of our practices.”

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Shannon Finnegan is a multidisciplinary artist making work about accessibility and disability culture. They have done projects with Banff Centre, the High Line, MCA Denver, Tallinn Art Hall, and Nook Gallery. They have spoken about their work at the Brooklyn Museum, School for Poetic Computation, The 8th Floor, and The Andrew Heiskell Braille and Talking Book Library. In 2018, they received a Wynn Newhouse Award and participated in Art Beyond Sight’s Art + Disability Residency. In 2019, they were an artist-in-residence at Eyebeam. Their work has been written about in Art in America, Hyperallergic, and the New York Times. They live and work in Brooklyn, NY.

Julia Rommel - September 2020

“I was comfortable doing less at Surf Point, waking to sit on the craggy shore and watch the sunrise, letting hours go by. I started noticing the variety of life on the property- each tidal pool hosting its own unique world, so many different plants and animals, shifts in the smells as the tides change. It reset my senses, inspired me, and allowed me to approach my work in a new way.”

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Julia Rommel (b. 1980 in Salisbury, MD) received her MFA from American University in Washington D.C. Recent solo and two-person exhibitions include: Fall Guy, Standard (Oslo), Oslo; Candy Jail, Bureau, New York; Twin Bed, Bureau at Tanya Leighton, Berlin; Stay-at-Home Dad with Mathew Cerletty, Standard (Oslo), Oslo; A Cheesecake With Your Name On It, Overduin & Co., Los Angeles; Two Italians, Six Lifeguards, The Aldrich Contemporary Art Museum, Ridgefield. Her work is in the collection of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Albright Knox Art Gallery, Buffalo; Hammer Museum, Los Angeles; and the Walker Art Center, Minneapolis.

Dr. Carrie Cushman - December, 2019

“Time seems to grow at Surf Point. Everyday there was rich in productivity, contemplation, and personal and professional growth.”

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Dr. Carrie Cushman joins Surf Point for a residency during the third week of December. Carrie joined the Davis Museum at Wellesley College in September of 2018 for a three-year term appointment as the Linda Wyatt Gruber '66 Curatorial Fellow in Photography. She has a Ph.D. in art history from Columbia University and is a specialist in the history of photography in Japan. Her dissertation is titled "Temporary Ruins: Miyamoto Ryuji's Architectural Photography in Postmodern Japan." As the Gruber Fellow, Carrie is responsible for teaching and curating with the Davis Museum's permanent holdings in photography, collaborating with faculty across disciplines, and curating special exhibitions. In fall 2018, she organized the exhibition Bread and Roses: The Social Documentary of Milton and Anne Rogovin, to highlight a recent gift to the Davis of 250 vintage prints by Milton Rogovin; for fall 2019, she curated Recent Acquisitions: New Photographs, featuring the work of Haley Morris-Cafiero and Habiba Nowrose, two emerging female photographers Cushman brought into the Davis holdings. For spring 2020, she will realize two ambitious and conceptually conjoined exhibitions. Making, Not Taking: Portrait Photography in the 19th Century recreates the environment of a nineteenth-century portrait studio amidst selections from the Davis’s collection of daguerreotypes, ambrotypes, cartes de visite, cabinet cards, and tintypes.

photo: https://academies.hypotheses.org/