· Management of CATE website (www.blogs.saic.edu/cate) and social media platforms—formulating and implementing strategies to build follower numbers and create online partnerships with relevant institutions and organizations
· Researching and compiling texts on featured artists for each season’s bibliography for use by SAIC faculty and students
· Liaising with visiting artists and Gene Siskel staff to ensure the smooth operation of CATE events—publicity materials, logistics, and event management
· Managing interviews of visiting artists—either by personally interviewing them, commissioning an SAIC student, or collaborating with the Video Data Bank On Art and Artists Interview Series
· Assisting with research and curation of upcoming CATE programs and seasons
· Curated two programs:
The X-Ray of Civilization: Films by Tom Rubnitz, David Wojnarowicz, and Tommy Turner (2014)
The Culture Wars and devastation of the AIDS epidemic contributed to a cultural scene in 1980s New York that crackled with tension and ached with sadness. Against this background, artists Tom Rubnitz, David Wojnarowicz, and Tommy Turner transformed mass media’s detritus into transgressive responses to the socio-political order. From the sprawling suburbs in Where Evil Dwells (Turner/Wojnarowicz, 1985) to America’s status as a global military power in Listen to This (Rubnitz/Wojnarowicz, 1992) and A Fire in My Belly (Wojnarowicz, 1985) to Hollywood itself in Psykho III The Musical (Rubnitz, 1985), the three artists scrutinized and scathingly satirized mainstream American iconography.
Projections, Portraits, and Picaresques: Works by Mary Helena Clark, Mariah Garnett, and Latham Zearfoss (2015)
Artists Mary Helena Clark, Mariah Garnett, and Latham Zearfoss (BFA 2008) self-reflexively play with portraiture and autobiography in a cultural landscape dominated by selfies and shifting social media platforms. In Home Movie (2012), Zearfoss engages with the contemporary urge to capture personal moments for online public consumption. Garnett’s Encounters I May Or May Not Have Had With Peter Berlin (2012) uses hand-painted celluloid, drag, and intimate conversation to reveal and obscure the reality of her relationship to the 1970s porn star. Clark’s The Dragon is the Frame (2014) meditates on a world shaped by missing persons by linking landmarks from Alfred Hitchcock’s Vertigo (1958) with the persistent online presence of the late artist Mark Aguhar. Each artist articulates personal identity in relation to aesthetic and community, fiction and truth.