Previous article FreeContributorsPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreTenley Bick is an art historian, critic, and Assistant Professor of global contemporary art in the Department of Art History at Florida State University. Her scholarship has appeared in a range of journals, including Third Text, African Arts, and Word & Image (in press), exhibition catalogues, and edited volumes, including Global Revolutionary Aesthetics and Politics after Paris ‘68 (eds. M. Munro, W. J. Cloonan, B. J. Faulk, and C. P. Weber, Lexington Books, 2021) and Migrants Shaping Europe, Past and Present: Multi-lingual Literatures, Social Cultures, Visual Arts (eds. H. Solterer and V. Joos, Manchester University Press, forthcoming 2022). She is currently completing her first book, Where There’s Everything: Michelangelo Pistoletto and Arte Povera’s Global Vision, for which this interview was conducted. tenleybick.com.Ron Broglio is author of Animal Revolution (2022). He writes on nonhuman phenomenology and animal studies and curates and has produced contemporary environmental art exhibitions and environmental experiences. Broglio is director of the Desert Humanities Initiative and associate director of the Institute for Humanities Research at Arizona State University.Andrea Carlson (b. 1979) is a visual artist and writer currently living in Chicago. Through painting and drawing, Carlson cites entangled cultural narratives and institutional authority. Current research activities include assimilation metaphors in film and museum studies. Her work has been acquired by institutions such as the Whitney Museum of American Art, the Minneapolis Institute of Art, and the National Gallery of Canada. Carlson was a 2017 Joan Mitchell Foundation Painters and Sculptors Grant recipient, and she received a USA Artists Fellowship in 2022.Alvin Curran is a composer and musician based in Rome. In 1966, he co-founded the collective Musica Elettronica Viva (1966–1971) with Frederic Rzewski and Richard Teitelbaum, with whom he played over 200 concerts in Europe and the United States and collaborated with key artists, musicians, composers, dancers, and creative practitioners of the 1960s and 1970s. His music-making, including solo performances, chamber music, experimental radio works, and large-scale site-specific sound environments and installations, has been formative to contemporary disciplines of electronic music and sound art. He is the recipient of numerous prestigious awards and prizes, including awards and recognitions from the Guggenheim Foundation, the National Endowment for the Arts, the Prix Italia, the Fromm Foundation at Harvard University, and many other institutions. He taught at the Accademia Nazionale d’Arte Drammatica in Rome (1975–1980) and as the Milhaud Professor of Composition at Mills College (1991–2006) in Oakland, CA.Sean Griffin*, PhD, is a composer, director, artist, and founder of Opera Povera. In addition to concerts, recordings, and installations, they have created six genre-breaking operas addressing social injustice, engaging with archives, technology, and local artists in unique and original ways. Often deploying the language of play, vigorous choreography, improvisation, and the “contemporary classical” world toward new vocal, instrumental, and expressive ends, Griffin creates highly ornate narratives and stagings that animate many performance communities. Opera Povera has created new works with the likes of George Lewis, Pauline Oliveros, Charles Gaines, Ron Athey, and Catherine Sullivan. Current projects involve Covid-safe madrigals for chorus and a new concert work with poets and percussionists in the Mexican State of Guanajuato, where Griffin taught sound art as Associate Professor in the Department of Art and Business at the University of Guanajuato, Campus Irapuato-Salamanca.Susan Gzesh* is Senior Instructional Professor at the University of Chicago, where from 2001 until 2020, she was Executive Director of the Pozen Family Center for Human Rights. Gzesh is a graduate of the Chicago Public Schools, the University of Chicago (A.B.), and the University of Michigan (J.D.) Since 2001, she has taught interdisciplinary human rights courses at the University, focusing on the rights of non-citizens, the application of international human rights standards in the U.S., the history of police torture in Chicago, human rights in Mexico, and—more recently—the right to water. She helped organize the Gray Center 2017 conference “What is an Artistic Practice of Human Rights?” She was a Gray Center Fellow, together with Iñigo Manglano-Ovalle and Abigail Winograd, and co-taught the Autumn 2021 course “Water, Water, Everywhere.” From 1980 until 2001, Gzesh practiced law in Chicago and was adjunct faculty at the University of Michigan Law School (1990–93) and the University of Chicago Law School (1992–2001). In the 1990s, she co-founded a network of migrant rights’ organizations in North America/Central America. She was legal advisor to the Mexican government on the rights of Mexican migrants. She is counsel to Hughes, Socol, Piers, Resnick & Dym, a non-resident Fellow of the Migration Policy Institute (Washington, D.C.), and a member of the advisory board of the Instituto para las Mujeres en la Migracion (Mexico City). She is a frequent speaker before academic and advocacy groups and on public radio.Swedish violinist Karin Hellqvist is a soloist and chamber musician engaged in contemporary and experimental music. She is a member of several forefront ensembles for new music in Scandinavia, as Cikada, Oslo Sinfonietta, and Duo Hellqvist/Amaral. She works closely with a number of leading composers and artists in the field, and her debut album Flock (2019) was awarded the Preis der Deutschen Shallplattenkritik 2020, featuring examples of her collaborative work. Hellqvist is educated in Stockholm, Berlin, Oslo, and London and is currently a PhD fellow in artistic research at the Norwegian Academy of Music in Oslo, where she researches the potential of collaboration in new music creation. Her work with Liza Lim on One and the Other (Speculative Polskas for Karin) is part of this research.Julie Marie Lemon is the Senior Director & Curator of the University-wide Arts, Science + Culture Initiative, developing the strategic and intellectual direction of programming in collaboration with the Arts, Science + Culture Faculty Advisory Committee. The Initiative serves faculty, students, and beyond. She has 15 years of experience in visual arts interpretation and education and has worked at the Walker Art Center in Minneapolis; as Art Director at the International School, Rotterdam, the Netherlands; the Art Institute of Chicago; and the Museum of Contemporary Art, Chicago. She has a Master of Liberal Arts from the University of Chicago.Jacob Henry Leveton is Program Coordinator of the Institute for Humanities Research at Arizona State University. He is a theorist and scholar of visual culture, poetics, and music, working especially on the uses of images in relation to critical sustainability issues. Leveton’s first book project, Seeing Ecology: Visual Culture, Iconology, Critical Resilience asks what images—visual, verbal, and sound-based—can do for the environment. Current essays in progress for the book include “Of ‘Combustion, blast, vapour, and cloud’: William Blake’s Urizen as Steam Engine,” “Born in the USSA: Thinking Eco-Communism with Zachary Cahill’s Community to Come,” and “Glossolalia & Unspeakable Hope in Sigur Rós’s ( ).” Leveton’s published work has previously appeared in Essays in Romanticism, Nineteenth-Century Contexts, and William Blake and the Age of Aquarius, published by Princeton University Press in 2017.Liza Lim is a composer, educator, and researcher whose music focuses on collaborative and transcultural practices. The roots of beauty (in noise), time effects in the Anthropocene, and the sensoria of ecological connection are ongoing concerns in her compositional work. Her four operas explore themes of desire, memory, ritual transformation, and the uncanny. Her genre-crossing ritual/opera Atlas of the Sky (2018) is a work involving community participants that investigates the emotional power and energy dynamics of crowds. Liza Lim has received commissions from some of the world’s pre-eminent orchestras and ensembles. Lim is Professor of Composition at the Sydney Conservatorium of Music. She was awarded the 2021 Happy New Ears Prize of the Hans and Gertrud Zender Foundation and is a Fellow of the Wissenschaftskollleg zu Berlin in 2021–22. Her music is published by Casa Ricordi Berlin and on CD labels such as Kairos, Hat Art, WERGO, HCR and Winter & Winter. lizalimcomposer.com.Damon Locks is a Chicago-based visual artist, educator, vocalist/musician. He teaches art with Prisons + Neighborhood Arts/Education Project at Stateville Correctional Center. He is a recipient of the Helen Coburn Meier and Tim Meier Achievement Award in the Arts as well as a 3Arts Awardee. He is a Soros Justice Media Fellow. He is the primary vocalist in Rob Mazurek’s Exploding Star Orchestra. Damon leads the group the Damon Locks Black Monument Ensemble and is a founding member of the group The Eternals. He also teaches improvisation in the Sound Department at the School of the Art Institute.Iñigo Manglano-Ovalle* earned a BA from Williams College in Williamstown, MA, and an MFA from The School of The Art Institute of Chicago. His noted film trilogy Le Baiser/The Kiss (1999), Climate (2000), and In Ordinary Time (2001) focuses on the architecture of Mies van der Rohe and the implications of Modernism. He has exhibited in solo and group exhibitions around the world. He has received a National Endowment for the Arts fellowship, the Media Arts Award from the Wexner Center for the Arts, the John D. and Catherine T. MacArthur Foundation Fellowship, and a John Simon Guggenheim Foundation Fellowship. Manglano-Ovalle is Professor at Northwestern University’s Department of Art, Theory, Practice.W.J.T. Mitchell* is a Professor of English and Art History at the University of Chicago and has served as editor of Critical Inquiry since 1978. His work is primarily focused on the interplay of vision and language in art, literature, and media, and the subjects of his articles range from general problems in the theory of representation to specific issues in cultural politics and political culture. He has published widely in scholarly journals and written numerous books, most recently Mental Traveler: A Father, a Son, and a Journey through Schizophrenia (2020).Dan Paz is a visual artist whose work brings a critical and aesthetic lens to the architecture of space, developing projects that build a genealogy of how power articulates itself through image production and access to information. Paz’s projects and collaborations have been featured in Hayward Gallery London, UK; the 12th Havana Biennial, Havana, CU; The Media lab, NYC; The Lee Center for the Arts, The Jacob Lawrence Gallery, Seattle, WA; Holding Contemporary, Portland, OR. Paz has hosted mapping workshops with Arizona State University, Vanderbilt University, University of Washington, University of Colorado at Boulder, Vienna Master of Applied Arts in Human Rights Program, Michigan State University. In 2021, Paz guest-edited a volume of photographs with A New Nothing & Sleeper Studio. In 2022, Paz has solo exhibitions with ENTRE, Vienna, Austria; The Specialist, Seattle, WA; and Michigan State University. Paz is 2021/22 Artist-in-Residence in Critical Race Studies at Michigan State University.Jennifer Scappettone* works at the confluence of the literary, visual, and scholarly arts. Her critical study Killing the Moonlight: Modernism in Venice was shortlisted for the Modernist Studies Association Book Prize. Her translations of the poet-refugee from Fascist Italy Amelia Rosselli were gathered in the award-winning collection Locomotrix. Her poetry volumes include From Dame Quickly, The Republic of Exit 43: Outtakes & Scores from an Archaeology & Pop-Up Opera of the Corporate Dump, Belladonna Elders Series: Poetry, Landscape, Apocalypse (with Etel Adnan and Lyn Hejinian), and SMOKEPENNY LYRICHORD HEAVENBRED: 2 Acts, a free e-libretto for “mixed-reality” performance. She has collaborated with dancers, architects, and musicians on performances crafted for sites ranging from Fresh Kills Landfill to the Janiculum Hill. Her work has been recognized by fellowships at Civitella Ranieri and the Center for Italian Modern Art, the Stanford Center for the Humanities, and the American Academy in Rome, among others. She is Associate Professor at the University of Chicago and Visiting Professor at the Université Gustave Eiffel.Paul Sereno, Professor and National Geographic Explorer, works in his Fossil Lab at the University of Chicago, resurrecting creatures long extinct and engaging the world in his nonprofit ventures, Scitopia Chicago and NigerHeritage. His field exploits began in the foothills of the Andes in Argentina, where Sereno discovered the earliest dinosaurs. Other expeditions have explored the Sahara and Gobi Deserts, India’s Thar Desert, and remote valleys in Tibet. A menagerie of spectacular crocodiles and dinosaurs have been unveiled, including giant 50-foot long predators, digging raptors, head-butting dwarfs, and a 40-foot-long SuperCroc. His latest discovery is a human graveyard in the Sahara predating the Egyptian pyramids. Featured in many National Geographic magazine stories and NOVA documentaries, Sereno was named Teacher of the Year by the Chicago Tribune, given the University Medal for Excellence by Columbia University. His efforts to foster up-and-coming scientists among urban youth earned the Presidential Award for Excellence in Science, Mathematics, and Engineering Mentoring from President Obama.Jill Sterrett is an independent arts and cultural heritage advisor. She was Interim Director and Deputy Director at the Smart Museum of Art at the University of Chicago from 2018 to 2020. She was Director of Collections and an art conservator at the San Francisco Museum of Art from 1990 to 2018. She has also practiced conservation at the Fine Arts Museums of San Francisco, the Library of Congress, the Philadelphia Museum of Art, the National Library of Australia, and the National Gallery of Victoria. Sterrett’s work focuses on the role of museums in contemporary society, operating at the intersection of collections, conservation, and memory. She is a graduate of Denison University with a BA in Chemistry and a BA in Art History. She earned her MA in Art Conservation from the Cooperstown Graduate Program. She has published and taught on the subject of museums, conservation, and contemporary art, including as a Fulbright scholar in Portugal.Abigail Winograd* is the MacArthur Fellows Program 40th Anniversary Exhibition Curator at the Smart Museum of Art at the University of Chicago. Her scholarly research has focused on the emergence of aberrant abstractions in post-war South America as well as museological approaches to expanding canonical narratives. Prior to her appointment at the Smart Museum, Winograd consulted with the MacArthur Foundation on the development of an exhibition of art by MacArthur Fellows to coincide with the Fellows Program’s 40th anniversary in 2021. She has curated exhibitions around the world. Winograd earned a Masters and PhD in art history at the University of Texas at Austin. She has additional degrees from the University of Wisconsin, Madison, and Northwestern University. She is the recipient of several fellowships, has contributed to museum catalogues, published academic articles, presented papers in the US, Europe, and South America, and contributed to publications such as Bomb, Mousse Magazine, Frieze, and Artforum.* Indicates recipient of the Andrew Mellon Collaborative Fellowship for Arts Practice and Scholarship at the Richard and Mary L.Gray Center for Arts and Inquiry. Previous article DetailsFiguresReferencesCited by Portable Gray Volume 5, Number 1Spring 2022 Published for the Gray Center for Arts and Inquiry Article DOIhttps://doi.org/10.1086/720499 Views: 476Total views on this site © 2022 The University of Chicago. All rights reserved.PDF download Crossref reports no articles citing this article.