The Visiting Artist program is a key component of the MFA in Photography program and is intended to promote curricular flexibility and a timely reflection, and response, to the constantly changing identity of photography in the 21st century.
Recent artists and scholars who have served as Visiting Artists, or who have committed to participating in the program are listed below. Guest critics have included Bill Crawford, Dr. Regis de Silva, Joe Wolin, and Tony Gonzalez.
Diana C. Stoll is an independent editor, writer, and curator specializing in contemporary photography and photographically integrated arts. Diana collaborates with a wide variety of cultural institutions and is renowned for her 13 years as Senior Editor at Aperture. She has lectured and presented widely and recent editorial projects include: "Charlotte Cotton's Photography Is Magic" (Aperture, 2015), "David Levi Strauss's Words Not Spent Today Buy Smaller Images Tomorrow" (Aperture, 2014), "Eva Respini's Robert Heinecken: Object Matter" (MoMA, 2014). Diana is the co-author, with Lin Ari son, "of Feast" (Chronicle, 2011), and "Desert and Cities Sing" (Chronicle, 2016). Her writings exploring photography appear regularly in Aperture among other publications.
Lyle Rexer is a New York based writer, curator, and critic that has been involved with the MFA Photography program since its beginning. He is the founder of Arts and Ideas, contributing editor for Arts on Paper, author of Photography's Antiquarian Avant-Garde, The Edge of Vision, and The Drawings of the Electric Pencil. Lyle is a Rhodes Scholar, teaching at The School of Visual Arts in New York, and has lectured and curated shows around the world. He is considered one of the most influential voices in contemporary photography and the medium's current evolution in the arts.
Photographer, critic, art historian and CalArts alumna Lucy Soutter (Art MFA 93) has released the book, Why Art Photography?, via London-based Routledge Press early this year. The publication is an introduction to art photography and the ideas behind the genre, exploring key issues such as ambiguity, objectivity, staging, authenticity, the digital and photography's expanded field. Besides contemporary work, the book also traces concepts and visuals to their sources throughout art history.
Andy Grundberg (BA Cornell University, MFA University of North Carolina at Greensboro) is a writer, curator, teacher, and arts consultant who has been involved with photography and art for more than 25 years. As a critic for the New York Times from 1981 to 1991 he covered the rapid ascent of photography within the art world. From 1992 to 1997 he was the director of The Friends of Photography in San Francisco, where he founded the quarterly journal see. Among the major exhibitions he has organized are Photography and Art: Interactions Since 1946 (1987), Points of Entry: Tracing Cultures (1996), Ansel Adams: A Legacy (1997), and In Response to Place: Photographs from The Nature Conservancy's Last Great Places (2001). His books include Crisis of the Real (Aperture, 1999), Alexey Brodovitch (Abrams, 1989), and Mike and Doug Starn (Abrams, 1990). He is one of the contributors to William Christenberry (Aperture, 2006) and the Corcoran exhibition catalog Helios: Eadweard Muybridge in a Time of Change (Steidl, 2010). Grundberg is Associate Provost and Dean of Undergraduate Studies at the Corcoran College of Art and Design in Washington, D.C., where he has taught since 2002.
Merry Foresta served as the founding director of the Smithsonian Photography Initiative from 2000 to 2010. Having received her bachelor's and master's degrees from Cornell University, she was a curatorial assistant at the Herbert F. Johnson Museum of Art in Ithaca, New York, before joining the Smithsonian Institution in 1978. She first served as an assistant curator for twentieth-century art at the National Collection of Fine Arts (now the Smithsonian American Art Museum). There she was named the museum's first curator of photography in1982 and subsequently was appointed senior curator of photography in 1992. In 2000, she was appointed Director of the Smithsonian Photography Initiative, a web-based, multi-disciplinary project about photography in Smithsonian collections. During this time, Ms. Foresta also has taught at a number of Washington, D.C. area universities and colleges.
During her tenure at the Smithsonian, Ms. Foresta has built one of the world's premier collections of American photography. She has curated many exhibitions and authored catalogues on art and photography, including "Perpetual Motif: The Art of Man Ray;" "Photography of Invention: Pictures of the 1980s;" "Between Home and Heaven: Contemporary American Landscape Photography;" Secrets of the Dark Chamber: The Art of the American Daguerreotype;" and "American Photographs: The First Century. For the inaugural project of the Smithsonian Photography Initiative," Ms. Foresta authored At First Sight: Photography and the Smithsonian, which featured a broad sampling of photographs from collections throughout the Institution as well organized and authored an institution-wide website devoted to photography. "Click: Photography Changes Everything," co-curated and co-authored with Marvin Heiferman, was the Smithsonian's first online exhibition and publication site. Aperture published the printed version, Photography Changes Everything, in 2012. More recently she curated "A Democracy of Images: Photographs from the Smithsonian American Art Museum," and is the curator for the forthcoming Irving Penn Retrospective exhibition that will open at the Smithsonian in 2015.
Currently she is an advising fellow at the Voinovich School of Leadership and Management at Ohio University, and works as an independent curator and advisor for the arts at various museums and libraries, including the Museum of Photographic Arts, San Diego and the University of Virginia Arts Initiative.
Deborah Luster is best known for her installation archive series One Big Self: Prisoners of Louisiana and Tooth for an Eye A Chorography of Violence in Orleans Parish. For One Big Self, Luster photographed for six years in Louisiana's prison system, including the state's maximum-security prison at Angola. Tooth for an Eye documents homicide locations in the nation's homicide capital, New Orleans. Monographs of both long-term projects are published by Twin Palms Publishers. Deborah's work is included in the permanent collections of the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Los Angeles County Museum of Art, and the Houston Museum of Fine Arts. Her awards include a John Simon Guggenheim Fellowship (2013), a Dorothea Lange-Paul Taylor Prize from the Center for Documentary Studies at Duke University, an Anonymous Was a Woman Award, the John Guttman Award and a Bucksbaum Family Award of American Photography. She is represented by Jack Shainman Gallery. Deborah's web site: www.deborahluster.com
Deborah Luster - St Gabriel Halloween 1999
Matt Saunders works cross boundaries between paintings, photographs, and animated films. Recent one-person exhibitions include those at Tate Liverpool, Marian Goodman Gallery, the Renaissance Society in Chicago and Harris Lieberman Gallery in New York. His work has been seen in group exhibitions at the DeCordova Biennial, the Sharjah Biennial, San Francisco Museum of Modern Art, Deutsche Guggenheim, Aspen Art Museum, University of Michigan Museum of Art, Sabanci Museum in Istanbul, and Artists Space in New York, and can be found in the collections of MoMA, SFMoMA, the Guggenheim, the Whitney, UCLA Hammer, and the Harvard Art Museums. Saunders earned his A.B. from the department of Visual and Environmental Studies at Harvard in 1997, and his MFA from Yale in 2002. Since then he has been primarily living and working in Berlin. As a writer, Saunders is an occasional contributor to Artforum and Texte zur Kunst, among others. From 2007 to 2008 he collaborated with Katarina Burin, Philipp Ekardt, Heike Föll, and Jan Kedves on a project series and exhibition space - the "Institut im Glaspavillon"--on Rosa-Luxemburg-Platz in Berlin.
Susan Bright is a curator and writer. Her curatorial practice operates across the registers of exhibition making, writing, public speaking, and teaching. She strives to engage across different methodologies and scales of working, taking in projects in national museums, non-profit medium scale galleries, publications, and formal education. Particular research interests include contemporary portraiture specializing in the representation of Mothers across fine art and the media. She was formally Assistant Curator at the National Portrait Gallery, Curator at the Association of Photographers and Acting Director for the MA Photography at Sotheby's Institute of Art, London. Recent exhibitions include: Home Truths: Photography and Motherhood (The Photographers' Gallery and Foundling Museum, London), Something Out Of Nothing (Fotogalleriet, Oslo), How We Are: Photographing Britain (co-curated with Val Williams, Tate Britain) and Face of Fashion at the National Portrait Gallery, London. She is author of Art Photography Now (2005 and 2011) and Auto Focus--The Self Portrait in Contemporary Photography (2010) both published by Thames and Hudson. She is currently pursuing a Curatorial PhD through Goldsmiths College, University of London. Watch a MOCAtv video of Susan in action. Susan will be a Visiting Artist in the MFA in Photography Program in the spring of 2014. Visit Susan's official webpage at: http://susanbright.net/
Roy Flukinger - as Senior Curator of Photography & Film at the Harry Ransom Humanities Research Center, Mr. Flukinger is currently in charge of the development, administration and application of the collections. He has and continues to lecture and publish extensively in such fields as: regional, cultural and contemporary photography, the history of art and photography, and film. He has produced nearly fifty exhibitions ranging from classical photo history to contemporary photography, and from photographers' retrospectives to American / regional / Texas photography. He serves as juror and reviewer for contemporary photographic events, institutions and support organizations, as well as finds and develops acquisitions for the HRHRC Photography & Film Department. Mr. Flukinger serves as liaison for the Department with fellow professionals worldwide throughout the fields of Photography & Film.
David Hilliard David Hilliard creates large-scale multi-paneled color photographs, often based on his life or the lives of people around him. His panoramas direct the viewer's gaze across the image surface allowing narrative, time and space to unfold. David received his BFA from the Massachusetts College of Art and MFA from the Yale University School of Art. He worked for many years as an assistant professor at Yale University where he also directed the undergraduate photo department. He has also taught at Harvard and the School of the Museum of Fine Arts in Boston. He currently teaches in Boston at the Massachusetts College of Art & Design and was a visiting faculty at Harvard University during the 2011-12 academic year. David spent the spring of 2010 at Dartmouth College as their artist in residence. David Hilliard exhibits his photographs both nationally and internationally and has won numerous awards such as the Fulbright and Guggenheim. His photographs can be found in many important collections including the Whitney Museum of American art in New York, the Museum of Fine Arts Boston, the Museum of Contemporary Art in Los Angeles and the Philadelphia Museum of Art. His work is represented by the Yancey Richardson Gallery in New York, Carroll and Sons Gallery in Boston, Jackson Fine Art in Atlanta, The Schoolhouse Gallery in Provincetown, MA and in Paris at La Galerie Particuliere. In 2005 a collection of his photographs was published in a monograph by Aperture Press.
John Stilgoe is the author of many books and has taught at Harvard University since 1977. As Orchard Professor in the History of Landscape, he divides his time equally between the Department of Visual & Environmental Studies in the Faculty of Arts and Sciences and the Department of Landscape Architecture in the Graduate School of Design. His courses focus on learning to see acutely (and sometimes serendipitously): the ordinary built environment forms his core subject. His introductory course explores ways of seeing the national built landscape since Spanish colonial times: his modernization course explores the ways advertising and other forces changed national attitudes and visions after 1890: his seminar on the North American seacoast lately emphasizes the depiction of the seacoast in period literature that now shapes tourism attitudes: and his course on fantasy centers on those elements of real landscape that morph into envisioned ones so much a part of modern childhood. He directs undergraduate and graduate theses that reflect the interests of individual students.
His books include Common Landscape of America, 1580 to 1845, Metropolitan Corridor: Railroads and the American Scene, Borderlands: Origins of the American Suburb, 1820 to 1939, and Outside Lies Magic. More recently they have focused on the maritime and marine topics: Shallow-Water Dictionary: A Grounding in Estuary English, Alongshore, and Lifeboat: A History of Courage, Cravenness, and Survival at Sea. Lately he has emphasized image making, in Landscape and Images, and extrapolating the future of parts of the built environment, in Train Time: Railroads and the Imminent Reshaping of the United States Landscape. He has a book in press on the intersections of post-1920 glamour photography, camera types, and fantasy imagery.
A Fellow of the Society of American Historians and the winner of the Francis Parkman Medal, the George Hinton Prize, the Bradford Williams Medal, and other awards, he is a determined film photographer, often using one of his Rolleiflex medium-format cameras in his drives around the United States. He lives on an old farm and rebuilds antique small boats for relaxation. John was a Visiting Artist in the MFA in Photography Program in the fall of 2013.
Lyle Rexer was born in 1951. He was educated at the University of Michigan, Columbia University, and Merton College, Oxford University, which he attended as a Rhodes Scholar. He is the author of several books, including Photography's Antiquarian Avant-Garde: The New Wave in Old Processes (2002); Jonathan Lerman: The Drawings of an Artist with Autism (2002); How to Look at Outsider Art (2005); and The Edge of Vision: The Rise of Abstraction in Photography (2009). In addition to his book projects, Lyle Rexer has published many catalogue essays dealing with contemporary artists and collections and contributes articles on art, architecture, photography, and culture to a variety of publications, including The New York Times, Art in America, Modern Painters, Aperture, Metropolis, Parkett, and Raw Vision. As a curator, he has organized exhibitions in the United States and internationally. For the Aperture Foundation he curated The Edge of Vision, an exhibition of contemporary abstract photography, which is traveling through 2013. Lyle Rexer teaches at the School of Visual Arts in New York City and is a columnist for Photograph magazine.
Holly Roberts received her BA from the University of New Mexico and an MFA from Arizona State University. A two time recipient of the National Endowment for the Arts award, she has had numerous solo and group exhibitions including those at SF MOMA, the Museum of Contemporary Photography in Chicago, and the Los Angeles County Museum of Art. Her work is held in collections including LA MoCA, The Art Institute of Chicago, Museum of Fine Arts, Houston, and the Center for Creative Photography in Tucson.
Keith Carter holds the Endowed Walles Chari of Visual and Performing Arts at Lamar University in Beaumont, Texas. He is the recipient of the 2009 Texas Medal of Arts, Artist of the Year, Art League Houston, and the Lange-Taylor Prize from the Center for Documentary Studies at Duke University. In addition he is the author of eleven books including: Fireflies, A Certain Alchemy, Opera Nuda, Ezekiel's Horse, Holding Venus, The Blue Man, and From Uncertain to Blue. Keith Carter's work has been exhibited widely in over 100 solo exhibitions in 13 countries. His work is included in numerous private and public collections, including the National Portrait Gallery, the Art Institute of Chicago; the Smithsonian American Art Museum; the San Francisco Museum of Modern Art, the J. Paul Getty Museum, the George Eastman House; and the Wittliff Collection of Southwestern & Mexican Photography.
Luis González Palma, one of Latin America's most original and acclaimed artists, was the Inaugural Strauch-Mosse Visiting Artist Lecture at Lesley University. Born in Guatemala In 1957, González Palma lives and works in Córdoba, Argentina. Among is exhibitions: The Art Institute of Chicago; The Lannan Foundation; The Australian Centre for Photography; Palace of Fine Arts, Mexico; The Royal Festival Hall, London; Palazzo Ducale di Genova; and Museum of Contemporary Art of Rosario; and festivals of photography at Houston, Bratislava, Arles, Madrid, Singapore, Bogotá; Sao Paulo, and Caracas.
For over twenty years, including his thesis in 3-D gum bichromate at Harvard University, Dan Estabrook has been making contemporary art using a variety of 19th-century photographic techniques. In recent years, he has focused on the earliest paper photographs–calotype negatives and salted paper prints–as sources for hand manipulation with paint and pencil. He balances his interests in photography with forays into sculpture, painting, drawing, and other works on paper. Dan has exhibited widely and has received several awards, including an Artist's Fellowship from the National Endowment of the Arts in 1994. He is also the subject of a recent documentary by Anthropy Arts. He is represented by the Catherine Edelman Gallery in Chicago, Daniel Cooney Fine Art in New York, and Jackson Fine Art in Atlanta. He lives and works in Brooklyn, New York.
Vicki Goldberg, one of the leading voices in the field of photography criticism, wrote about photography for The New York Times for thirteen years and has published several books and the texts for more than twenty photographic monographs. Her books The Power of Photography: How Photographs Changed Our Lives and Margaret Bourke-White: A Biography were each named one of the Best Books of the Year by the American Library Association. She has received numerous awards for writing, including the International Center of Photography's Infinity Award, the Royal Society's Dudley Johnston Award, and the Long Chen Cup (China).
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Amanda King '14 was featured in The Boston Globe among the most promising master's of fine arts degree candidates in Greater Boston.
A new adventure for two members of the MFA Photography program:Alicia Turbitt and Cotton Miller'13 found themselves teaching photography workshops in the small barrio of Sonrisa de Dios, Nicaragua.
Sloat, the interim director of the MFA in Visual Arts Program, discusses the photo program and his teaching philosophy in the Spring 2013 issue of PDNedu magazine