CUE Art Foundation is a visual arts center based in New York City dedicated to creating essential career and educational opportunities for emerging and under-recognized artists. Through exhibitions, arts education, and public programs, CUE provides artists and audiences with sustaining and meaningful experiences and resources. CUE carries out its mission through its core programs, which include solo exhibitions for emerging and under-recognized artists; an annual fellowship for an emerging curator; mentorship and publication opportunities for emerging writers; professional development workshops for practicing artists; and arts education intensives for high school students.
Taney Roniger is a visual artist, writer, and educator based in New York. Her work has been shown in a number of venues both here and abroad, including Robert Henry Contemporary, Lesley Heller Workspace, Sperone Westwater, The Islip Art Museum, and StandPipe Gallery in New York; the Contemporary Arts Center and The Front in New Orleans; and the Pera Museum in Istanbul, Turkey. Her awards and honors in the visual arts include three fellowships at Yaddo, a grant from the Pollock-Krasner Foundation, and a traveling fellowship from the Stacey Sussman Cavrell Memorial Foundation. Since 2012 she has been a contributing writer at The Brooklyn Rail, for which she writes exhibition reviews and critical essays, and for which she will serve as Guest Editor of the Critics Page for the December 2017 issue. Her essays and reviews have also appeared in Hyperallergic, Whitehot Magazine, Big Red & Shiny, Transverse, and On-Verge. In 2016, she was a finalist for the Creative Capital Arts Writers Grant in short-form non-fiction. She holds a BFA from the School of Visual Arts and an MFA from Yale University.
Suzanne Anker is a visual artist and theorist working at the intersection of art and the biological sciences. She works in a variety of mediums ranging from digital sculpture and installation to large-scale photography to plants grown by LED lights. Her work has been shown both nationally and internationally in museums and galleries including the ZKM, Karlsruhe, Germany, Walker Art Center, the Smithsonian Institute, the Phillips Collection, P.S.1 Museum, the JP Getty Museum, the Medizinhistorisches Museum der Charite in Berlin, the Center for Cultural Inquiry in Berlin, the Pera Museum in Istanbul, the Museum of Modern Art in Japan, and the International Biennial of Contemporary Art of Cartagena de Indias, Colombia. Chairing SVA’s BFA Fine Arts Department in New York City since 2005, Ms. Anker continues to interweave traditional and experimental media in her department’s new digital initiative and the SVA Bio Art Lab.
Gianluca Bianchino is a multimedia artist living and working in Northern New Jersey. Inspired by astronomy and architecture, Bianchino’s work is focused on immersive site- specific installations and interactive wall sculptures. Originally from Italy, he attended an architectural magnet school in Avellino before relocating to the US, where he enrolled at New Jersey City University to receive a BFA in painting. In 2011, he completed his studies with an MFA focused on sculpture/installation from Montclair State University. Bianchino has maintained a studio practice for over ten years in the thriving arts district of Newark, New Jersey. Bianchino exhibits regularly throughout the greater New York area. Recent exhibits include Suzhou Art Center, Suzhou, China, Governor’s Island Art Fair, NY, The Painting Center, NY, Chashama Chelsea Project Space, NY, Rooster Gallery, NY, The Islip Museum, Islip NY, The Hunterdon Museum, Clinton NJ, and solo exhibits at Index Art Center and Fire Station Art Center, Newark, NJ. A feature article of Bianchino’s work is published in the March 2016 edition of Sculpture Magazine. His work can be viewed at www.gianlucabianchino.com.
Jeanne Brasile is the Director of the Walsh Gallery at Seton Hall University. She earned her Bachelor’s Degree at Ramapo College of New Jersey with a concentration in art history and studio art, and a Master’s Degree in Museum Studies from Seton Hall University. She currently teaches as an adjunct in the Museum Professions Graduate Program at Seton Hall University. Jeanne is also an independent curator, writer, artist and frequent lecturer on such topics as public art, curatorial practice and institutional critique. During her career of nearly 20 years, she has curated numerous shows throughout New York and New Jersey and worked at institutions such as Storm King Art Center, The South Street Seaport Museum and the Montclair State University Art Galleries. Philosophically, she sees the gallery as a place for asking questions rather than a framework for imposing meaning. She is most interested in developing exhibitions that challenge visitors to re-think their perceptions of art, art-making and the role of the museum/gallery.
Catherine Chalmers holds a B.S. in Engineering from Stanford University and an M.F.A. in Painting from the Royal College of Art in London. She has exhibited her artwork around the world, including MoMA P.S.1, New York; MassMoca, North Adams; Kunsthalle Vienna; The Today Art Museum, Beijing; among others. Her work has been featured in the New York Times, Washington Post, Time Out New York, ArtNews, Artforum and on PBS, CNN, NPR, and the BBC. Two books have been published on her work: FOOD CHAIN (Aperture 2000) and AMERICAN COCKROACH (Aperture 2004). Her video “Safari” won Best Experimental Short at SXSW Film Festival in 2008. In 2010, Chalmers received a Guggenheim Fellowship, and in 2015, she was awarded a Rauschenberg Residency. She lives and works in New York City.
James Elkins grew up in Ithaca, New York, separated from Cornell University by a quarter-mile of woods once owned by the naturalist Laurence Palmer. He stayed in Ithaca to earn a BA in English and Art History, with summer hitchhiking trips to Alaska, Mexico, Guatemala, the Caribbean, and Columbia. For the last twenty-five years, he has lived in Chicago; he received a graduate degree in painting, switched to Art History, received another graduate degree, and completed a PhD in Art History in 1989. (All from the University of Chicago.) Since then, he has been teaching in the Department of Art History, Theory, and Criticism, at the School of the Art Institute of Chicago. He married Margaret MacNamidhe in 1994 on Inishmore, one of the Aran Islands, off the West coast of Ireland. Margaret is also an art historian, with specialties in Delacroix and Picasso. Jim’s interests include microscopy (with a Zeiss Nomarski differential interference microscope and Anoptral phase contrast), stereo photography (with a Realist camera), playing piano (contemporary “classical” music), and (whenever possible) winter ocean diving. His writing focuses on the history and theory of images in art, science, and nature. Some of his books are exclusively on fine art (What Painting Is, Why Are Our Pictures Puzzles?). Others include scientific and non-art images, writing systems, and archaeology (The Domain of Images, On Pictures and the Words That Fail Them), and some are about natural history (How to Use Your Eyes). Recent books include What Photography Is, written against Roland Barthes’s Camera Lucida; Artists with PhDs, second edition; and Art Critiques: A Guide, third edition.
Linda Francis is a New York-based artist whose large-scale paintings, drawings, and prints explore the relational aspect of form and the paradox of appearances. With a longstanding interest in the sciences as a rational metaphor for the irrational, she works with form to position the given against the interpreted. Her work has been shown extensively throughout the States and abroad at venues such as Minus Space, Nicholas Davies Gallery, Condeso Lawler Gallery, and Hal Bromm Gallery, in New York; William Paterson University in New Jersey; The University of Alabama College of Arts and Sciences; Galerie Gislain Mollet-Vieville et J.P. Najar in Paris; and Gallery Per Sten in Copenhagen. She is the recipient of awards from The Terra Foundation, American Academy of Arts and Letters, The John Simon Guggenheim Memorial Foundation, The National Endowment for the Arts, New York State Council on the Arts, and Hunter College. Her works are included in the public collections of the Kemper Museum of Contemporary Art, Portland Art Museum, MIT List Visual Arts Center, University of Alabama, Louisiana Museum of Modern Art, Nordjyullands Kunstmuseum, Stavanger Kunstmuseum, the Schlumberger Collection, Equitable Collection, Philip Morris Collection, Mediagnost Tubingen, and the Jean-Paul Najar Foundation. Website (under construction): lindafrancis.com.
Installation artist Lorrie Fredette lives and works in New York’s scenic Hudson Valley. Her work considers the full range of intersections of nature with human health and illness. Her work has been featured nationally and internationally, and twice received awards by the New York Foundation for the Arts. Withrecent exhibitions at the Art & History Museums-Maitland, FL, and the Visual Arts Center, Summit, NJ, Fredette’s installations are well reviewed in the New York Times, SciArt Magazine and Sculpture. Additional international and US museum exhibitions include: University of Tennessee (Knoxville, TN), Mass MoCA (North Adams, MA), Cape Cod Museum of Art (Dennis, MA) and Jyväskylä Art Museum (Jyväskylä, Finland). Fredette co-curated Compendium at the Islip Art Museum, an exhibition highlighting the overlapping influences of Science and Art. Her latest installation, “Iterations,” recently closed at the Museum of Contemporary Art (Jacksonville, FL) though select works were subsequently acquired for their permanent collection.
Dmitry Gelfand (b.1974, St. Petersburg, Russia) and Evelina Domnitch (b. 1972, Minsk, Belarus) create sensory immersion environments that merge physics, chemistry and computer science with uncanny philosophical practices. Current findings, particularly regarding wave phenomena, are employed by the artists to investigate questions of perception and perpetuity. Such investigations are salient because the scientific picture of the world, which serves as the basis for contemporary thought, still cannot encompass the unrecordable workings of consciousness. Having dismissed the use of recording and fixative media, Domnitch and Gelfand’s installations exist as ever-transforming phenomena offered for observation. Because these rarely seen phenomena take place directly in front of the observer without being intermediated, they often serve to vastly extend one’s sensory threshold. The immediacy of this experience allows the observer to transcend the illusory distinction between scientific discovery and perceptual expansion. In order to engage such ephemeral processes, the duo has collaborated with numerous scientific research facilities, including the Drittes Physikalisches Institut (Goettingen University, Germany), the Institute of Advanced Sciences and Technologies (Nagoya), Ecole Polytechnique (Paris) and the European Space Agency. They are recipients of the Japan Media Arts Excellence Prize (2007), and five Ars Electronica Honorary Mentions (2007, 2009, 2011, 2013, and 2017).
Daniel Hill is an abstract painter, sound artist, curator, and writer whose work explores the relationship between visual art, sound, and science. Recent exhibitions include: Brattleboro Museum of Art (2016/17), NurtureArt (2016/17), Holland Tunnel Gallery – Greece (2016), Pace University (2015), Margret Thatcher Projects (2014), and McKenzie Fine Art (2012, 2013). Collections that hold Hill’s paintings include: United States Embassies, Microsoft Corporation, and Bank of America. He has curated “Visual Inquiries: Artists Inspired by Science” at Pace University (Fall 2016) and co-curated the 2012 traveling exhibition “Emergence and Structure” at Lafayette College, Miami Dade College and the University of Florida. Hill has appeared on panel talks or contributed writing to publications exploring the art and science connection including; The CUE Art Foundation (forthcoming 2017), The Brooklyn Rail (forthcoming 2017), the Helix Center (forthcoming 2017), TransBorder Art, Interalia Magazine, Shirley Fiterman Art Center, SciArt Magazine among others. His sound work has appeared in the video/sound installations “Mythograph” and “Aurorasis” with Angie Drakopoulos exhibited in New York and Paris, and his music has received airplay on radio stations in New York, Canada, and Europe. He is currently an Adjunct Associate Professor of Art at Pace University in Manhattan. He resides in Long Island City, NY with his wife and two sons.
Ed Kerns is an American painter and educator. He studied with and worked for Grace Hartigan, a highly-regarded Abstract Expressionist painter of the New York school. Through Hartigan Kerns came to know and work for many artists of that generation including Willem DeKooning, James Brooks, Philip Guston, Clifford Still and Sam Francis. Kerns’s career had a meteoric start. In 1972, his first New York exhibit garnered high critical praise for the young artist. The New York Times, Village Voice, Arts Magazine, ArtForum, and Art News were among numerous publications that praised his work. Kerns has enjoyed a long association with the New York galleries of Rosa Esman, Florence Lynch, and Howard Scott. His career has spanned a prolific forty-five years. His work has been shown in over thirty-eight solo exhibitions and one hundred thirty group shows in New York, Paris, San Francisco, Washington, Chicago, Denver, Rome, Madrid, Osaka, Munich, and Mexico City. In addition to painting, Kerns routinely collaborates with neuroscientists, biologists, engineers, poets, and actors to create performance art, including the recent multi-media, eight stage piece entitled “FRANKENSTEIN2029”, a cautionary tale about trans-humanism.
In 1987, Kerns was appointed the Eugene and Mildred Clapp Professor of Art at Lafayette College, becoming the youngest Professor to hold an endowed chair in the college’s history. Today, Kerns continues to teach multidisciplinary courses in neuroscience and art.
Eve Andree Laramee is Professor of Art at Pace University, where she is also Director of the Center for the Arts, Society and Ecology. Born in Los Angeles, Laramee now lives in Brooklyn, NY, and Santa Fe, NM. Her art has been exhibited throughout the United States, Europe, Asia and the Middle East. Exhibitions include the Venice Biennale, Mass MOCA, Massachusetts Institute of Technology, Museum of Contemporary Art, Chicago; New Museum of Contemporary Art, New York; among others. Collections include the MacArthur Foundation; Museum of Modern Art, New York; Museum of Contemporary Art, Chicago; The Fogg Art Museum of Harvard University; Massachusetts Institute of Technology, and others. Laramee has received two grants from the Pollock-Krasner Foundation, two fellowships from the New York Foundation for Arts and grants from the Mid-Atlantic States Arts Foundation, National Endowment for the Arts, Andy Warhol Foundation Grant, and others. Her work and research explores the subtle historical and social dimensions between artistic practice and scientific inquiry; questioning commonly held assumptions about art and science and how these views are transmitted over time. Three primary themes include: history of science, legacy of the Cold War/Atomic Age nuclear legacy sites, and environmental/ecological systems.
Sinead Marielle Maharaj graduated from Michealis School of Fine Art, University of Cape Town, in 2016, and is currently pursuing Honors in Anthropology at UCT. Through her photographic works, she explored the intersection of art and science, which drew her to produce a final exhibition based solely on alternative dark room works, the perfect combination of art and chemistry. Maharaj’s interests have always been rooted in how we perceive the world and how we come to perceiving it in this way. The basis of her Honors thesis was around the intersection of medical anthropology and visual anthropology. This introductory work, which she hopes has the potential to grow, is aimed at understanding how medical students are trained to see. The understanding of how our institutions have a major influence on how we calibrate our vision – how we see and position ourselves in the world – is crucial to her work. She seeks to understand the way students are taught to see through mark making, to better understand how vision, observation and seeing are taught within this categorical science discipline.
Stephen Nowlin is a maker/curator and the founding director of ArtCenter College of Design’s Williamson Gallery in Pasadena, California. He has initiated multiple curatorial projects puzzling over the intersection of science and art, organized artist-scientist collaborations and festivals, and written essays for numerous exhibition catalogs and publications including SciArt Magazine, Leonardo Journal, Interalia Magazine, STEAM Journal, Skeptical Inquirer Magazine, and KCET Artbound. His exhibitions explore the art-science discourse and ponder its social impact, in particular the manner by which it interrogates and disputes memetic supernatural belief systems. Nowlin received an MFA from ArtCenter and a BFA in design from California Institute of the Arts.
Elaine Reynolds is an Associate Professor of Biology and Neuroscience at Lafayette College in Easton, Pennsylvania. She is also chair of the Aging Studies Program. She did her undergraduate work at Penn State, her PhD at Carnegie Mellon University, and postdoctoral work at Stanford University at Buffalo and UC Berkeley. She has 20 years of experience teaching undergraduates, including courses that discuss consciousness and the intersection of art and neuroscience. In 2016, Elaine was awarded the Educator of the Year by the Faculty for Undergraduate Neuroscience (FUN), a national organization devoted to neuroscience education. In addition, Elaine has developed art installations that question the relationship between technology and society with several collaborators.
Matthew Ritchie’s installations of painting, wall drawings, light boxes, sculpture, and projections are investigations of the idea of information; explored through science, architecture, history and the dynamics of culture, defined equally by their range and their lyrical visual language, incorporating architectural interventions and chance based interactive digital projections to explore the narrative structures of time and space. In 2001, Time magazine listed Ritchie as one of 100 innovators for the new millennium, for exploring “the unthinkable or the not-yet-thought.” His work has been shown in numerous exhibitions worldwide including the Whitney Biennial, the Sydney Biennial, the Sao Paulo Bienal, the Venice Architecture Biennale, the Seville Biennale and the Havana Biennale. His work is in the collections of the Museum of Modern Art, the Guggenheim Museum, the Whitney Museum of American Art, the Albright Knox Museum, the San Francisco Museum of Modern Art and numerous other institutions worldwide; including a permanent large-scale installation at MIT and an award winning permanent installation in a the Federal Courthouse in Eugene, Oregon. Awards include the Baloise Art Prize, a National Association of Art Critics award, an ID design award and the Federal Art In Architecture National Honor Award.
Alexis Rockman has exhibited extensively worldwide since 1985. He has been featured in a number of solo museum exhibitions including Dioramas at the Contemporary Arts Museum, Houston (1996); Alexis Rockman: A Recent History of the World at the Aldrich Museum of Contemporary Art, Ridgefield (1999); Manifest Destiny at the Brooklyn Museum (2005; traveling to the Rhode Island School of Design; Addison Gallery of American Art, Andover; Grand Arts, Kansas City); and a mid-career survey Alexis Rockman A Fable for Tomorrow at the Smithsonian American Art Museum, Washington, DC (2010; traveling to the Wexner Center for the Arts, Columbus); Alexis Rockman: The Weight of Air at the Rose Art Museum; East End Field Drawings at the Parrish Museum of Art in Water Mill, NY ( 2015). His work is represented in public and private collections, including the Brooklyn Museum, New York; Carnegie Museum of Art, Pittsburgh; Solomon R. Guggenheim Museum, New York; Moscow Museum of Contemporary Art; Whitney Museum of American Art, New York; and Yale University Art Gallery, New Haven. From 2009-2012, Rockman collaborated with director Ang Lee on the prize-winning film “Life of Pi,” serving as “Inspirational Artist” preparing conceptual drawings to serve as visual reference. He has been the subject of many exhibition catalogues and monographic publications including Alexis Rockman, published by Monacelli Press in 2003. Rockman lives and works in New York City. His detailed biography and exhibition history can be found at alexisrockman.net/cv/.
Luis F. Schettino received a B. S. in Experimental Biology from the Universidad Autonoma Metropolitana-Iztapalapa in Mexico City, an M.S. in Psychobiology from Rutgers-New Brunswick, and a Ph. D. in Behavioral and Neural Processes from the Center for Molecular and Behavioral Neuroscience at Rutgers-Newark, both in New Jersey, USA. He is currently Associate Professor of Psychology and Neuroscience at Lafayette College in Easton, Pennsylvania. His research involves the computational analysis of complex human motor control, specifically grasping behavior. His interests include how artistic and athletic expert skills are developed through sensorimotor learning (sometimes mislabeled ‘muscle memory’) and how expert performance is expressed through the production of stereotyped yet flexible behavioral syntaxes during the process of Flow. Completing the circle, he is also interested in how the motor templates coordinating behavioral syntaxes interact with cognitive systems to produce what can be called an individual’s Style.
Leonard Shapiro is a specialist drawing teacher and skilled workshop facilitator who enjoys facilitating learning, growth and development in others, in the field of observation. He has developed a multi-sensory observation method, which employs the sense of touch (haptics) as well as sight, with the simultaneous act of drawing. It is called the Haptico-Visual Observation & Drawing (HVO&D) method. The application of the HVO&D method results in a greatly increased level of observation of the form of a 3-dimensional object, as well as the cognitive memorization of it. As such, the observer-drawer will also be able to retrieve the form of the object from memory and draw the object without looking at it. The drawing itself is testament to the degree to which the object has been closely observed and will contain the unique marks made by the drawer’s hand. These marks can be visually analyzed. Leonard teaches the HVO&D method at a university level to MBChB students studying the human anatomy, as well as students of fine art. Leonard holds a Bachelor of Fine Art (BAFA Honours) degree from the University of Cape Town (UCT) Michaelis School of Fine Art. He also holds a Bachelor of Social Science (BsocSc) degree from UCT.
Werner Sun is a visual artist who lives and works in Ithaca, NY. A particle physicist by training, he makes folded paper constructions that investigate the role of pattern and abstraction in the everyday acts of observing and knowing. Werner’s practice combines elements of sculpture, photography, coding, digital printmaking, drawing, and collage. His work has appeared in the Islip Art Museum, the Schweinfurth Art Center, and the Azarian McCullough Art Gallery, and his essays and images have been published in Stone Canoe, Lunch Ticket, and SciArt Magazine. Werner has served on the boards of directors for several small arts organizations, including the Saltonstall Foundation for the Arts.
Dan Weiskopf is an Associate Professor of Philosophy and associate faculty in the Neuroscience Institute at Georgia State University. He works in the philosophy of mind and science, focusing on problems concerning representation, classification, and modeling in the mind/brain sciences. He has written on concepts and categorization, embodied and extended cognition, mechanistic explanation, and mental disorder. In addition, he is a visual arts writer and critic who has published on artistic practices that draw on scientific theories, methods, and technology. At the moment, he is trying to make sense of the various notions of “experiment” deployed in poetry, fiction, and visual art.
Margaret Wertheim is an internationally noted writer, artist and curator whose work focuses on relations between science and the wider cultural landscape. The author of six books, including The Pearly Gates of Cyberspace: A History of Space from Dante to the Internet, and Physics on the Fringe, a study of “outsider science,” she has written for the New York Times, Los Angeles Times, Guardian, Aeon, Cabinet and many others. Wertheim is the founder, with her twin-sister Christine Wertheim, of the Institute For Figuring, a Los Angeles-based practice devoted to the aesthetic dimensions of science and mathematics – theiff.org. Through the IFF, she has created exhibitions for the Hayward Gallery (London), Science Gallery (Dublin), and Mass MoCA (MA). The Wertheims’ Crochet Coral Reef project is the largest art & science endeavor in the world – 10,000 people in a dozen countries have participated. The project has been shown at the Andy Warhol Museum (Pittsburgh), Museum of Arts and Design (New York), Deutsches Museum (Munich), and the Smithsonian (Washington D.C.). Through an unlikely nexus of handicraft and geometry, the Crochet Reef offers a window into mathematics while also addressing climate change and citizen’s capacity for positive response to ecological crisis. margaretwertheim.com