IDSVA News
Upcoming Italy Intensive In June 2010, Professor Stephen Greenblatt (Harvard University) will lecture at Spannocchia Castle on the transition from feudal to Renaissance cultural consciousness. Following his lectures, second-year students will depart for Milan, where they will study Da Vinci’s“Last Supper,” an icon of Renaissance cultural consciousness. A world leading Renaissance scholar, Stephen Greenblatt is generally credited with the introduction and theorization of New Historicism, one of the single mostimportant developments in historical methodology of the twentieth century.
 Also in June 2010, Etienne Balibar (Paris X Nanterre) and John Rajchman (Columbia University) will hold an IDSVA dialogue as part of the Paris residency. Discussion will center on the question of the “Contemporary.” France’s preeminent Marxist philosopher, Etienne Balibar is author of We the People of Europe? Reflections onTransnational Citizenship. Internationally renowned for his
work on French postructuralism, John Rajchman’s Truth and Eros: Foucault, Lacan, and the Question of Ethics appeared in 2009.
Student Loans Maine Education Services, a non-profit administrator and servicer of education loans, has created a student loan program especially for IDSVA students. The loans will be private, credit-based education loans, available for May 2010. More information:
Publications/Conferences/Symposiums
Kalia Brooks "Reexamining the Position of the Curator in Contemporary Photography" Moderator Society of Photographic Education Conference 2010 The Print Center Philadelphia, PA Sunday, March 7, 2010
This curator-only round table will bring to together emerging curators from various backgrounds and professional affiliations to discuss the shifting role of the curator in the field of contemporary photography. It will address the question of the relationship between the curator, artist and audience by focusing on the methods by which curators are working to gain visibility for artistic practice and the curatorial responsibility in contextualizing that practice for the viewer. With the option to view art in many venues—including the increasing popularity of computer generated environments on the internet—how does the curatorial approach to exhibition-making vary according to the forum? In addition—how does the meaning of these spaces alter the role of the curator?
"Virtual Morrison - Visualizing Toni Morrison in Second Life" Visualizing Toni Morrison Toni Morrison Conference Paris, France October 2010
One of the hallmarks of Toni Morrison's gift to American literature is her ability to render visual images in literary form. From Sula to Beloved to The Bluest Eye and A Mercy, vivid visual images abound as key signposts in complex plot sequences and memorable narratives. This panel will explore Morrison's use of the visual in three of her most notable novels: Beloved, Sula and A Mercy. Using examples from contemporary visual art and new media technologies, the panelists will show how Morrison has seamlessly woven the literary and artistic imagination.
Denise Carvalho "Bodies of Dispersion: Mechanisms of Distention" Exhibition and Conference Arsenal Gallery in Bialystok, Poland Opening on May 21st and panel
discussion on May 22nd May 21st to June 20th, 2010 "Bodies of Dispersion: Mechanisms of Distention" examines the relationship betweenthe singular body and its mechanisms of multiplicity in everyday life, highlighting specific critical perceptions and positionalities in regard to social, geopolitical, cultural, biological, and technological attitudes and systems. Panel and Performance at Art Comments ATOA (Artists Talk on Art) at SOHO 20 Chelsea, 547 West 27th Street, Suite 301, NYC April 22nd, 2010 This is a panel/performance exploring the differences between social and public through collective
interactions in New York. "In Conversation with Ginger Shulick " Council on the Arts & Humanities for Staten Island, NY June 22, 2010
This conversation explores her work as an art critic, curator, and scholar in the last years.
Sara Christensen Blair "Bridging the Gap Between Art Studio and Art History: The PhD for Visual Artists" South Dakota College Art Association Augustana College, Sioux Falls, SD November 5, 2009
Brooke Chroman "Parts and Labor Gallery in conjunction with Vera List Center for Art and Politics at The New School" By Any Name: Institutional Memory at The New School New York City, NY October 2009
As The New School celebrated its 90th anniversary, this collaboration between Parts & Labor and the Vera List Center featured a series of free events hosted in Parts & Labor’s mobile gallery, a truck parked outside Tishman auditorium. Discussions, lectures, and workshops presented inside the truck and in adjacent rooms in The New School’s “signature building” (designed by Joseph Urban in 1930) bring together a cast of contributors, members of the university community, and the public to examine the founding principles of The New School and to address the question of how these principles have fared over time. "City as Archive" Guest Lecturer Eugene Lang, Urban Studies Department October 2009 "The Making of Parts and Labor Gallery" Chroman, Brooke University of Austin, Texas, Fine Arts Department February 17, 2010
A lecture on her artistic practice and the work of the Parts and Labor Gallery Collective.
Jennifer Hall "Studio-Based Research as Master’s Thesis in Art Education" National Art Education Association (NAEA) National Convention Baltimore, MD Friday, April 16, 2010, 1:00 - 1:50pm April 14-18
Master’s program implementing studio-based research offers insights, student examples, pedagogical perspectives, and pragmatic, programmatic considerations.
"Big Girl, Big Fish: A Ridiculously Philosophical Examination of Why I Hunt Shark on Fly" International Womens Fly Fishers Conference Charleston, South Carolina April 22-25, 2010 "The Body Multiple in an Aesthetics of Consciousness" Toward a Science of Consciousness 2010 Tucson Convention Center, Tucson, Arizona April 12-17, 2010
She will consider how the material elements of the brain apply to a philosophical potential of perception. Much of what occurs at the internal biological level mirrors action at the full body level. So when an artist builds a case for an aesthetic experience, she is also building a case for the material properties of perception and consciousness itself.
Seth Kim-Cohen "The Hole Truth" Artforum November 2009
Article on artist, Doug Aitken's Sonic Pavilion in Brumadinho, Brazil.
"Performance and Impoverishment" Invited Talk NYU Performance Studies Department, NYC, NY December 2009
A theoretical discussion of my practice, focusing on relations of power, knowledge, and agency as these relations are activated and determined by the specifics of performance. Delivered as a series of propositions with space left for commentary, questions, and contestation.
"Interview on Art On Air Radio" A conversation about his book, In The Blink of an Ear:Toward a Non-Cochlear Sonic Art, his artistic practice, and IDSVA. January 2010
Exhibitions
Robert Anderson Members' Juried Exhibition: PAPER WORKS PAAM:Provincetown Art Association and Museum Provincetown, MA February 19 - March 28, 2010
Gregory Blair Gregory Blair - Assemblage Sculptures College of the Sequoias Art Gallery Visalia, CA Jan. 26 - Feb. 25, 2010
12th Annual All Media Juried Online International Art Exhibition Upstream People Gallery Omaha, NE January 1 - December 31, 2010
Kalia Brooks (curated by) First Person: Seven Women and Video The Barbara Walters Gallery Sarah Lawrence College, Bronxville, NY March 30 - April 25, 2010 Bayete Ross Smith: Passing The Halls at Bowling Green Bowling Green, OH January 28-March 5, 2010
This body of work examines how nationality affects the perception of identity. It seeks to expose the power of identity documents and the role they play in giving people access to the various resources of our “global society.” Ross Smith is questioning how perception and pre-conceived notions change in accordance to nationality. Furthermore, how does perception of a certain nationality change according to race and gender? This is Ross Smith's first solo exhibition in New York City. He received his B.S. in Photojournalism from Florida A&M University and M.F.A. in Photography from the California College of the Arts. Ross Smith currently lives and works in New York City.
Sara Christensen Blair Uncommon Textiles: Sara Christensen Blair & Rachel Star Suntop Susan Hensel Gallery Minneapolis, MN Jan - Feb 2010 Metaphoric Fibers: Untamed Knitting & Crochet Textile Center Minneapolis, MN March 5 - April 17, 2010
Knitting and crochet are among the most traditional textile techniques taught from one generation to the next. The artists in this exhibition take the basics, then throw out the rules. Using non-traditional media, such as wire or sublimation ribbon, the artists transform the materials into a fiber abstraction of an everyday reality.
Brooke Chroman "Inside Out" Brooklyn Academy of Music Brooklyn, NY May 1st, 2010
Denise Carvalho Intangible Interferences Momenta Art in Brooklyn, NY September 2010 This exhibition examines the temporal/spatial dynamics of resistance and depolarization in the relationship between politics, economics, and language. Artists explore the subtle forces of interference in situations of translation, geopolitics, religion, and ecology.
Seth Kim-Cohen Non-Cochlear Sound Diapason Gallery Brooklyn, NY Fall 2010
Non-Cochlear Sound describes a form of sonic practice not primarily concerned with the ear. Marcel Duchamp’s famous call for a non-retinal visual art was answered (eventually) by minimalism, conceptual art, social-based practice, and a host of approaches that appeal not to the eye, but to other concerns. In his new book, In The Blink Of An Ear: Toward a Non-Cochlear Sonic Art, artist and theorist Seth Kim-Cohen asks why sound has been slower to make the conceptual, linguistic, and social turns. As a way of responding to this question and of “redressing” this perhaps unfortunate sonic situation, we seek sound work that engages any or all of the following: sociality, conceptualism, politics, textuality, discursivity, subjectivity, history, economics, or philosophy. See Call for Work at:
Mary Elizabeth Kimbrough Faculty Show Eichold Gallery, Spring Hill College Mobile, AL March-April 2010
Peter and the Wolf Paper Wasp Gallery Mobile, AL March - April 2010
To Kill a Mockingbird Exhibition Civil Rights Museum Birmingham, AL
Emily Putnam (dba EL Putnam) HUBRIS Performance Art Festivus Alternative Art Space Boston, MA July 16 & 17, 2010
HUBRIS is a two-day event that celebrates performance work that embraces the notion of self-grandiosity, emphasizing the most narcissistic and self-indulgent aspects of the medium.
Mobius Movie Night Mobius Alternative Art Space Boston, MA June 26, 2010
Nil Santana ACU Biannual Faculty Show ACU-Cockerell Art Gallery Abilene, TX Jan. 14 - Feb. 6, 2010
The ACU Department of Art & Design recently opened the 2010 Biannual ACU Faculty Art Exhibition. The exhibit includes painting, photography, drawing, sculpture and more. Twelve faculty members from the ACU Department of Art and Design are featured in the exhibit, with approaches ranging from traditional to contemporary. Visit Nil's blog for images from the installation:
Cleve Webber Comming By Force/Overcomming by Choice Black History Month Group Exhibition Firehouse Gallery Nassau
Community College Garden City, New York January 25 - March 10, 2010 Reflection of a Movement Exhibition was curated and prepared by Cleve Webber, National Center for the Study of Civil Rights and African Culture, Alabama State University Montgomery, AL February 7 - May 31, 2010 Afro Forever The exhibition was curated and prepared by Cleve Webber Black History Month Art Exhibition Warren/Britt Gallery, Alabama State University Montgomery, AL February 2-26, 2010
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A Zillion Points of Departure: In Dialogue with IDSVA Professor Denise Carvalho Interview by Brooke Chroman
How did you get involved with IDSVA, and what drew you to the program?
IDSVA’s mission and focus attracted my interest. I first responded to IDSVA’s faculty search at College Arts Association in 2007, which led to an interview with George [IDSVA’s Founder] in NY. I began teaching as an Independent Studies Director in January 2008.
What has been unexpected about your experience at IDSVA and why?
The fact that I am changing radically through the expansion of my own consciousness. I have become so much more able to create the environment that I want through the opportunity of sharing the gift of learning in a discursive, open community of like-minded people. I feel I am privileged.
Where are you from, and how do you think it informs your teaching and practice of art and philosophy?
I was born in Rio de Janeiro, Brazil, but have been living in the US since the late 1980s. I have been in New York City for almost two decades, and have lived in California for 7 years, where I pursued my PhD and a couple of Masters Degrees at the University of California Davis, teaching at UCD, San Francisco State, and later at Humboldt State University. My early connection to NYC was through my artistic career, which later expanded to writing, curating, and teaching. My experience as a young Brazilian artist in NYC led me to two important realizations: one, that in contemporary culture, one cannot be an artist in isolation, and that I needed a network to subsist; and two, that I was suddenly facing the other side of the spectrum, being an outsider, realizing myself through the discriminative perspective of gender, culture, ethnicity, and
even class, which until then was not something I had experienced. Until my arrival in NY, I believed myself to be a self-taught artist, even though I had studied art before. When I was ten years old, I studied with Ivan Serpa, a leader of Neo-Concretism in Brazil, and later studied with Aloisio Carvão, another Neo-Concretist. At the time, the best art schooling there was through private classes, mentoring, and some group classes at the Museum of Modern Art in Rio, and later at Parque Laje, but when the artists of Parque Laje started to become really important, I was already in New York. I never believed, and still don’t,that one can be taught to be an artist. Art making for me was like a vocation, perhaps this was something nurtured by my family in me, but from the beginning I believed it was a process of self-discovery, and a tool toward thinking and consciousness. Perhaps, this is why I always enjoyed reading philosophy, even when I was quite young, because I saw
philosophy also as a tool for self-discovery.The way I was brought up was more connected to a Kantian perspective, but my experience living in NYC led to a shift toward a more Bakhtinian perspective. I still think that art making is a process of self-discovery, but I also see how important the network is to provide a social function to this self-discovery.
What led you to become an artist/philosopher and a professor?
In NYC, I realized how important the network is for the artist, exemplified by art education as nothing more than a place for developing a network system that is constructed by an epistemological discourse. However, since my cultural experience was always interdisciplinary—I had studied journalism, Portuguese literature, theater, music, have always written, made visual art, etc.—I became very aware when universities started to become increasingly interdisciplinary, and that was a great feeling for me, since my own experience was somehow materializing in my scholarly network. This also happened in the art world, and I saw a connection between the art market, artistic communities, and educational shifts. The search for a network was what led me to study at the School of Visual Arts, and officially engaging in the interdisciplinary
discourse of thought was what led me to pursue my Masters in Cultural Anthropology at Hunter College. To continuously develop my network I needed to continuously develop myself, which led me to pursue a PhD in Cultural Studies, and two other Masters in this process. Teaching also enabled me to development in my thinking and writing, as well as in the way I was able to transmit this information to my students and artists I work with. I am addicted to learning as a process of self-discovery, and every step toward becoming larger, to expanding your consciousness, fosters paradigmatic changes in your life, increasing your responsibility in your social context.
Are there reoccurring questions that inform your work as an artist/philosopher/curator?
I have been working with ideas regarding the collective, how does the collective work? Can we make changes when we are subtle in our contributions to our everyday life? What does it mean to act in a subtle manner? How does my ability to be singular within the collective allow me to enact my own critical voice? How does the collective interfere with other collectives? How does it become a system or a structure? I am examining the concept between the social and the public space. Can one create a social space in today’s shifting perception of the public as corporate space? I am also very interested in environmental theories outside anthropocentric systems.
The need for a network is a basic idea that arose from my own experience but has been part of many artist's experience in various times and cultures. I became very interested in Brazilian art collectives, which led to me write my dissertation on the topic. Another issue is how networks can resituate the role of agency. Recent art collectives all over the world are reawakening the need to resituate the singular within the collective, against a growing corporate culture that focuses on fostering homogeneity through cultural passivity and excessive consumption. These artworks attempt to destabilize corporate culture in their monopolization of public space, calling attention to recent shifts in the relationship between public and social spaces. I am also interested in how multimedia arts reenact critical meaning and agency through interferences
with media culture, destabilizing their monopoly and re-inscribing their use of information.
Why is community especially relevant in our era, or is it especially relevant?
I am interested in community because the arts can best articulate critical ideas immersed in everyday social space, and that engagement is what creates community.
How is technology today changing the dialogical relationship between autonomy and community?
Technology has become both technique and form, signified and signifier, creating a method of mediation that diverts thinking as something that needs to be mediated. In terms of the arts, technology is no longer a tool, but has taken over the principles of aesthetic form, based on a culture of the fake on one hand, and appropriating technical knowledge as monopoly on another, thus changing two basic ideas: that knowledge can be mastered, since one can never really catch up with the speed in which technology is developing, and that one needs to locate sight as a priority over other sensorial perceptions, even though sound and touch are also part of the expansion of an evolutionary technology. However, the use of sensorial perception through technology is never natural in a way that is unmediated: it is always mediated, always conceptualized.
Technology has altered the concept of autonomy via computers and the Internet. Since the invention of television, the meaning of bourgeois autonomy has changed, bringing a more conceptual relation with time, and this has led to a phenomenological shift in terms of perceiving our connection with the world.The world is now a much more temporal world, much more conceptual, rather than natural, or even spatial, due to the importance of language signifiers. Nevertheless, we can still articulate a sense of community. In a way, in relation to community, a computer can still function as a tool, and serve as an aesthetic language creating form, but the meaning of form has changed. Communities have become virtual and they demand less that we become physically engaged in them.
Aside from having hundreds of phone conversations with IDSVA PhD students and teaching more classes then I can count, what projects have you currently been working on, and what (personal/cultural) histories have gone into making them?
I have been working on several exhibitions with panels for 2010, two in May, one on post-totalitarian art from Central Europe at the Chelsea Museum, which opens May 6th, and another on art of collectives, or addressing issues between the singular and the collective, at Arsenal Gallery in Poland. I am also curating two shows in September, one at Momenta Art in NYC about politics, economics, and language, and another at White Box (NYC) focusing on other artists from Central and Eastern Europe. Most of these shows will include panels with scholars, curators, artists, and critics addressing the topics of the shows. In addition, I am organizing two other panels in NYC in April, examining the difference between social and public spaces, and the involvement of art collectives and performative collaborations that address this issue.
How do you deal with issues of translation when working across socio-cultural and geographical locations?
My sense of translation is not something that follows programmed rules. I believe that we are always translating, even if we speak the same language. As a writer who thinks and writes in a second language, my use of language is both organic or intuitive, and constructed or learned through listening, writing, reading, and speaking. I believe that one needs to maintain a certain organic flow in one’s use of language to keep expanding the ability to redefine one’s own creativity throughout language. I think one can actually change language by being engaged in both one’s own apparent limitations as creative tools as well as in redefining one’s methods of learning. In my own native Portuguese, my writing is so much more intuitive, and I had to go through a rite of passage in the ability to regain my ability to be
intuitive in a second language.
How are communities formed across linguistic barriers? How does art play a role in this?
I think communities are formed throughout any kind of engagement between people, and if we did not have spoken language, we would have a different kind of body language, but all possible forms of language create community. In art, language does not need to have a didactic function, and this is why it is so important that it uses every possible expression that it can articulate, even silence can be language in the arts.
What problems and benefits arise from working in the intersection between artist, curator, writer, and professor?
I think that everything happens in the intersection, nothing can happen otherwise. We tend to believe that we can do one thing, and that in itself is pure, untouched by all the other aspects of ourselves, but in reality it is impossible. A style of teaching that is open and dialogical in a way that allows a flow of knowledge to be created as a form of discourse is not hierarchical, therefore even though it is didactic, it still can be used in relation to writing, curating, and creating art.
Is it important to define disciplines, and how can we understand the fluidity of many artistic professions/professionals, without essentializing what they are, but at the same time be specific enough to denote a certain activity?
To be a professional in this world is to have a status, an identity, a position that gives you a sense of security, of power, but that only functions in the world of appearances. It is not important if one does not feel fluidity in one’s own thinking and if one does not feel that they are constantly growing in its state of consciousness. I am interested in this kind of fluidity. I think that any knowledge materializes in real things in the world. Your expanded consciousness materializes various potentials and expands these potentials within the world, but you have to be there, to act out, to notice and to make decisions in regard to what is happening. You are always in some sort of control of your ownability to interpret, to mediate, to interact, to decide, to choose, to articulate, to act or not to act. I believe we are like points
of departure to zillions of possibilities that are taking shape around you, and we cannot fully realize what we are generating, although we are always contributors, always doing things that will reverberate around and beyond us in time and space.
Denise Carvalho is an artist, professor, curator and theorist. Carvalho holds a Ph.D. in cultural studies, an M.A. in arthistory from UCD, and an MA in cultural anthropology from Hunter College, as well as a BFA from SVA. She has published widely in art magazines and journals such as Sculpture, Flash Art, Art Papers NKA Journal of Contemporary African Art, Journal of Art & Society, Cover, Review, Art in America, Art Nexus, and Afterimage, as well as in several Brazilian and European publications. She has curated exhibitions and exhibited her own work throughout the United States and internationally.
Catching Big Fish on a Little String: An Interview with IDSVA Second-Year Student, Jennifer Hall Interview by Brooke Chroman
What were you working on before you enrolled in IDSVA?
As many artists, I had a number of projects going at the same time before I entered IDSVA. I had been teaching at the college level for 25 years and had been involved with starting new programs that emerged around the use of new technology and the arts. I also started and run Do While Studio, the first non-profit artist-run organization 501c(3) in the country with a focus on art, technology, and culture. We have run an international artist and residency program in Boston for over 25 years. Then of course, I make my own artwork which, over that particular time of my life, has had two parallel and sometimes intersecting trajectories. One has been designing and building interactive robotic sculpture and the other has been issues of health as they relate to system thinking in personal identity. One of my recent projects involved working with a
medical anthropologist to collect data about health issues in a particular arts community and then working with a team to build a large-scale interactive sculpture that incorporates that data to help control the kinesthetic aspects of the work.
What ideas are you working with now, and why are they important to you?
I am very invested in understanding the biochemistry of consciousness and how that can affect an individual’s interactions in the larger world as well as how the world can affect ideas of aesthetics. Neurophenomenology—a relatively young discipline—has nevertheless opened up possibilities for direct collaboration and exchange between artists and those working in the cognitive sciences. This research includes how the aesthetic language emerging from the domain of interactive art installation reflects and uses the patterns found in the neurobiological construction of consciousness.
So as you may surmise from my own studio practice with robotic systems, I am unraveling ideas around the individual and the collective within the interactive experience. I am also discovering the myths of the natural and the simulated and how they can be utilized in a post-biological era of aesthetics. In particular, Autopsies or a (self)-creation in neurophilosphy, is being used to express a fundamental dialectic between structure and function of both cellular consciousness and an interactive aesthetics that collapses distinctions between living and artificial forms. Following this description, the autopsies in art are a function of self-production rather than production and to a variety of degrees, the observer becomes a co-organizer in the evolutionary system of the emerging pattern of the interactive artwork. This relationship that the
observer has to the work is one of equalizing and undermines the imperializing state that the viewer holds within high art.
How have your interests changed or been informed since you’ve been at IDSVA?
Before IDSVA, I developed projects through intuition, a tacit knowing – or rather, by the seat of my pants. I learned how to be a teacher, an arts administrator, and a robotic artist by doing it. What I missed was the history and theory that is underneath the intuition. Within the last few years, I felt I wanted to better understand where I stood, contingent to other ideas in history and see how these ideas influenced my own choices as an artist. What I didn’t really count on was that it would make my thinking so much more clear, and in turn, my art projects so much more succinct. I see this happening already in my studio practice.
What texts have influenced the direction of your work lately and why?
Texts such as Alain Badiou—it has been inspiring to see how a philosopher can work with both continental and analytical methods of inquiry (Badiou, Alain, Being There. Trans., Feltham Oliver.)
Writings on neuroscience and how the post-biological affects embodiment is also important to me as I discover that cognition and interactive art use similar emergent systems. John Bickle, Jean-Pierre Changeux, Andy Clark, and Shawn Gallagher are a few that I am currently reading. Francisco Varela and his translation of the biological state of autopoesis into the world of cyborg aesthetics has also been essential reading for me.
Finally, I am moved, in a more general way, by the work of philosopher Jean-Luc Nancy. In particular, his ability to fold the individual into the collective and back again into the individual is an important part of how we can think of an interconnectivity of all forms of life without loss of essential intersubjectivity.
How do you describe the territory that you’re working in? Is it important to define these territories and why?
It is important to define the territories for the purpose of understanding and preparing oneself for the political struggle one will enter into when collapsing these very distinctions.
What is research to you, and how does it differ (or does it differ) in art, philosophy, and science?
I use a variety of research methods and I tend not to worry which discipline claims ownership to which one. Certainly I am engaged in heuristics aimed at discovery and as a way of self-inquiry within a dialogue with others, but I am ultimately using an autobiographical methodology because I see my own self as a kind of research subject in a phenomenological field of exploring.
How do you define the terms of your art practice and where does it happen, in the lab, in a studio, in mental processes?
I have what we would consider a ‘studio practice’ where I formulate and execute artworks. I also find myself in residency at laboratories that do research on DNA of brain functions so that component of my studio practice is always a function of making-it-up-as-I-go-along. IDSVA has provided me with another set of intellectual tools—the mental discourse of philosophy which I have already begun to fold into my practice.
What interests you about IDSVA?
Most everything.
What discoveries have you made lately?
That even my aged mind can grow new synapses to handle the cognitive overload of graduate school.
Why do you think that this category or title of artist/philosopher is important and what does it mean to you?
Clarity of thought along with creative solutions is a valuable combination. Best we go to work with a full set of tools.
What do you when you’re not reading, writing, or working?
When I can, I fly fish for toothy critters like shark and barracuda. There has been little time for this sort of trip lately, but whenever there is a moment, my mind wanders to fighting big fish on a little string.
Jennifer Hall received her Bachelor of Fine Arts (B.F.A) at the Kansas City Art Institute, and her Masters of Science in Visual Studies (M.S.V.S.) from the Massachusetts Institute of Technology (M.I.T.).
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