LAYERS OF TIME (redux)

L AY E R S O F T I M E r e d u x
e x h i b i t i o n
c u r a t e d b y K L A U S H U
Klaus Hu, artist, curator, research Studio Wildenbruchstr 77, 12045 Berlin, tel +49.30.68081524 em: klaushu@yahoo.de
in progress / curatorial concept compiled by KLAUS HU 2017 / 18

CONCEPT
As the painting process interweaves historical and contemporary quests on the subject of landscape and its clashes
under different cultural notions and histories, influenced by the photographic archive and the digital realm, this
proposal looks for individual positions and perspectives from European and American artists on this subject. It centers
round the notion on how time frames not only the self, but questions the canon as representation and abstraction of
painting by juxtaposing and implementing the sculptural form, the collage and the photographic reference to grasp
contemporary painting anew inside the discourse on the Anthropocene.
WORK
Artist positions from Europe and the USA on the conflicting crisis of presence and of the baggage of history. With
subjects on landscape, economics and on ecological concerns. Without limits to subjective, objective reflection and
towards genre. Historical photographic archives will be juxtaposed towards the artists statements on how to grasp the
timely bridge between a fading past, an overall now and a desired future, that due to its digital promise seems out of
reach. This overall now is also affected by political and cultural clashes of misbalances on how to perceive the era of
the Anthropocene, made visible via the artist statements and via a selection of historical photographic archives
juxtaposed as a kind of new syncretism.
ARTISTS AND ARCHIVES CONSIDERED: (in alphabetical order)
Center for Land Use Interpretation (CLUI - on the uranium waste deposits within the US), Edward S.Curtis (North
Western University library / photographic archive / selection of Indian American settlements), Kiki Gaffney
(Philadelphia - painting), Klaus Hu (Berlin - painting - photography), Tom Judd (Philadelphia - painting), excerpts of
Geoff Manaugh´s blog BLDGBLOG as a supplement source / to be presented on screen, Levan Mindiashvili (NY /
Tbilisi, Georgia - painting ), NASA (on Mars “Spirit” rover database - photography), Timothy O`Sullivan (1872 /
collection / archive / Duke University, Durham, North Carolina - selection of his early photographic recordings of the
South West), Elisa Pritzker (NY - objects / sculpture), James Reich (writer - on the Church Rock spill - text of 2013),
Ward Shelley (NY - painting/drawing/installation), Robert Smithson (estate / James Cohan gallery NY / selection of his
films / videos), Ralf Tekaat (Berlin - drawing / installation), Derrick Velasquez (Denver - objects / sculpture)
photos / works / texts © the artists, authors and estates / libraries // concept / text & layout © KLAUS HU 2017 / 18

SELECTION OF WORKS BY ARTISTS involved / for full documentation of artists involved,
and archival sources for exhibition > see document detailing the application > document
LAYERS OF TIME redux curatorial proposal by KLAUS HU 2017_high_res. pdf
Mt. Shasta oil on canvas 70 x 90”
Tom Judd 2015
HOTEL PALENQUE 1969
© Estate Robert Smithson
courtesy James Cohan gallery NY
& Solomon R. Guggenheim Museum, New York
Edward S Curtis 1868 - 1952
Frame of peyote sweat-lodge
1 photogravure :
brown ink ; 14 x 19 cm [image size],
18 x 22 cm [plate size]
Original photogravure produced
in Cambridge, MA,
by Suffolk Engraving Co.
1927
velasquez_untitled
148_30x25x1_med
vinyl and wood
Derrick Velasquez 2017
The Beats
acrylic on mylar
59” x 30”
Ward Shelley 2008

CHURCH ROCK: THE SILENCE SURROUNDING AMERICA'S WORST NUCLEAR ACCIDENT
James Reich September 9, 2013
The horror tonight is that it could get much worse. The potential is there for the ultimate risk of meltdown at
Three Mile Island. Almost thirty-five years have elapsed since Walter Cronkite delivered those baleful lines to
the CBS cameras in 1979, describing the only domestic nuclear accident with sustained popular recognition
in the United States. Next year, four months after the Three Mile Island anniversary, July 16 will mark thirty-
five years since the Church Rock uranium mine spill, a greater catastrophe that remains relatively unknown,
even within my adopted home state of New Mexico where it occurred. July 16 is also the date of the first
explosion of a nuclear device, the Trinity test in New Mexico, 1945. Church Rock is the most significant of
America's silent nuclear accidents: it released more radiation than Three Mile Island (43 curies, compared
with 16). However, the nuclear industry is extremely effective at concealing its litany of leaks, fires, ruptures,
shutdowns, human error, seismic and meteorological threats, from coast to coast, Indian Point to Diablo
Canyon. At Church Rock, cracks had been observed in the containment wall of one of United Nuclear
Corporation's lagoons a week before its failure. As Prof. Doug Brugge reported, the six-meter breach spilled
1100 tons of radioactive mill waste and 95 million gallons of mine process effluent down Pipeline Arroyo and
into the North Fork of the Puerco River. This tremendous flow of water backed up sewers, affected 2 nearby
aquifers, left pools along the river, and transported contaminants 130 km downstream to a point near Navajo,
Arizona.
In July, in Santa Fe, protests continued against the proposed reopening and development of uranium-mining
sites in New Mexico. In 2011, the EPA described 500 abandoned uranium mines in the state, and hundreds of
square miles contaminated by the process. The dangers of radium, radon gas and uranium to those exposed
and contaminated communities include chronic lung disease and cancer, bone and cranial tumors, necrosis of
the jaw, acute leukopenia, anemia, lymphatic and hematopoietic tumors.
Further objections are raised on the grounds that uranium-mining operations desecrate land sacred to Native
Americans from Acoma Pueblo, Laguna Pueblo and the Navajo Nation, including the Mount Taylor region,
where a Canadian-Japanese company Roca Honda Resources has submitted plans to mine. I have seen the
argument that religious objections have no place in such decision-making. As an atheist, I agree, but one does
not require a religious basis or a perception of certain lands being sacrosanct to certain peoples to object to
these plans, merely the reasonable concern for public health and the environment. That being said, rumors of
the separation of Church and State in American practice have been greatly exaggerated. And from
exaggeration to silence: arguably, the relative invisibility of the Church Rock spill, compared with Three Mile
Island, is in relation to the relative invisibility of the indigenous communities affected by the disaster.
Strathmore Minerals Corporation (60% of Roca Honda Resources) has obtained the Church Rock site and
will begin mining this year. Strathmore and Roca Honda Resources expect to extract tens of millions of pounds
of uranium from their operations, from which it is reasonable to state that there will be an accumulation of
contaminated waste in proportion. Uranium extraction in New Mexico is also emblematic of the primacy of
corporatism over communities, particularly the indigenous or marginalized. The nuclear industry,
corporatism, is engaged in a slow holocaust. Arguments for uranium mining based upon employment
opportunities for impoverished communities are specious. State and Federal government should prevent this
devastating technology.
It is inevitable that more regions of the nation will have to be permanently abandoned as a result of
catastrophes like Church Rock, or Sequoyah Fuels Corporation in Oklahoma, or near-disastrous reactor
incidents like those at Three Mile Island, Browns Ferry AL, Waterford CT, Nine Mile Point NY, Oak Harbor
OH, Wiscasset ME, Braidwood IL, Vernon VT, to refer to a few. Nuclear power is not, in any sense, a clean
technology, nor is nuclear power a justifiable alternative, with its constant threat to life. The American people
are engaged in a game of Russian roulette with these facilities, often without even being aware that they are
playing. There is no return to the scene of a nuclear accident or serious radioactive contamination, hence the
exclusion zones at Chernobyl, Fukushima, and the restrictions surrounding Hanford, WA. The greatest danger
to our nuclear facilities is not terrorism, but time, decay, accidents, and coincidence.
James Reich is the author of Bombshell: A Novel (Soft Skull Press, July 2013) and I, Judas: A Novel (Soft
Skull Press, October 2011). He is a contributing faculty member at Santa Fe University of Art and Design.
pages: jamesreichbooks.com
pages: clui.org/page/radioactive-disposal-sites-usa
archival images courtesy GOOGLE EARTH & CLUI (CENTER FOR LAND USE INTERPRETATION

Edward S Curtis 1868-1952
Frame of peyote sweat-lodge
1 photogravure :
brown ink ; 14 x 19 cm [image size],
18 x 22 cm [plate size]
Original photogravure produced
in Cambridge, MA,
by Suffolk Engraving Co.
1927
Source
The North American Indian (1907-1930)
v.19, The Indians of Oklahoma.
The Wichita. The southern Cheyenne.
The Oto. The Comanche.
The Peyote cult ([Seattle] : E.S. Curtis ;
[Cambridge, Mass. :
The University Press], 1930),
Facing page 206
Northwestern University
Digital Library Collections
Edward S. Curtis. The North American Indian (1907-1930)
This publication follows the nineteenth-century Euro-American tradition of capturing the “otherness” of indigenous American Indian life in
photography and narrative chronicles. It is set apart by its ambitious scale, and by the striking effect of its images, which are essentially contrived
reconstructions rather than true documentation. Originally planned for ﬁve years, the complicated project was slowed by prohibitive expenses. Public
reception was mixed. Less than half of 500 projected sets were printed. Scholars, while interested in staff notes on vocabulary and lore, were dubious of
Curtis’s methods of observation. In the 1970s the photographs began to enjoy a nostalgic revival in reprints, and have had a lasting, if controversial,
inﬂuence on views of the American Indian. page: curtis.library.northwestern.edu/site_curtis/

2 K I K I G A F F N E Y
P h i l a d e l p h i a - p a i n t i n g

One of my primary interests in art making is the visual
patterns I notice in my surroundings – whether the organic,
energetic lines carved into rocks by the process of erosion,
informational diagrams such as street grids, or the staid and
structured compositions of wallpaper or fabric found on walls
and furniture I come across.
My work juxtaposes animate shapes with design elements to
explore the direct relationship between our natural and
created ‘atmospheres,’ the analytical and sequential accuracy,
and order in the mark making. It is an active meditative
process. Ultimately, I want to highlight the beauty of
conﬁguration and decoration to create space for
contemplation.
Kiki Gaffney
The Road Home 24 x 20” mixed media on plastic 2012

Synthesis oil on panels, 10 x 15” 2014
Pattern #2 oil and graphite on plastic panel 8 x 8” 2014

Born Meadowbrook, PA, 1971
Education
1995 – 1999 University of the Arts, Philadelphia, PA,
Masters of Fine Arts in Painting.
1992 Institute for American Universities and Marchutz School of Painting,
Aix-en-Provence, France. Studies in French Literature, Art and Art History.
1989 – 1993 Loyola College, Baltimore, MD, Bachelors of Arts in Studio Arts.
Grants and Residency Programs
Virginia Center for the Creative Arts, Amherst, VA, June 2016.
Virginia Center for the Creative Arts, Amherst, VA, June 2014.
Virginia Center for the Creative Arts, Amherst, VA, April 2012.
Virginia Center for the Creative Arts, Amherst, VA, April 2010.
Solo Exhibitions
2015 Solo Exhibition, Susan Maasch Fine Art, Portland, ME
2014 Susan Maasch Fine Art, Portland, ME
2011 Object and Ornament, Pentimenti Gallery, Philadelphia, PA
2008 Components, Pentimenti Gallery, Philadelphia, PA.
2007 Observations, Julie Nester Gallery, Park City, UT.
Group Exhibitions
2016 Summer Flash, Pentimenti Gallery, Philadelphia, PA
Woodmere Annual 75th Juried Exhibition – The Condition of Place
curated by Odili Donald Odita, Woodmere Art Museum, Philadelphia, PA
Abington Art Center Annual Juried Show, curated by Leah Modigliani, Assistant Prof
and Program Head of Visual Studies at Tyler School of Art
2015 Summer Currents, Pentimenti Gallery, Philadelphia, PA
2014 Within the Foreground – Works from the MFA Studio alumni, faculty,
mentors and students, Rosenwald-Wolf Gallery, Philadelphia, PA
2014 Outside In, K. Imperial Fine Art, San Francisco, CA
2014 Sights for When the Sun Arrives, Pentimenti Gallery, Philadelphia,PA
2014 Eight Women Abstract Artists 8x8, Susan Maasch Fine Art, Portland, ME
2013 The Women, Part II, Peter Marcelle Gallery, Bridgehampton, NY
page: kikigaffney.com

3 K L A U S H U
Berlin - painting / photography

Historical and experienced landscapes. Photographs are juxtaposed
as negative b/w and digital images of the residence stay at the Santa
Fe Art Institute in New Mexico in March / April 2013. The
landscape of the North American South West appears as an ambient
room as visual language of lived time. As visual translation, these
opposites merge into a symbiosis. Do I imagine landscape or does
landscape reflect on me? Is landscape a romantic topic of
escape, "inspired" by infinity or is it an ecological disaster? While
landscape was subject to the will and spirit of the late baroque
period in European tradition and degraded to geometric alignments
of the nobility, the romantic period of the 19th century projected the
"soul" of the author / artist on / into the canvas, and thus into / onto
the real landscape. Sometimes landscape disappeared as a longing
as in Caspar David Friedrichs paintings. At the beginning of the
20th Century modernity opens the bridge to non-European
traditions, without examining in detail the various notions of
landscape, the self, the projection, the ritual and
transformation. Only the ignition of the first Atomic bomb in 1945 in
New Mexico threw an image on the dichotomy of dissolution versus
unity (of the self). The result was the counter-movement and the
awakening of the 60's generation. But everything vanished into a
daydream. Another 40 years later, after several financial and
ecological crises and disasters, the exploitation of resources by
transnational corporations, wars of intervention, after 9/11, looking
at "LANDSCAPE" is probably a marginal subject.
White Sands I - III charcoal, oil on Stonehenge
each 36,7" x 48,8" / 93,2 x 123,9 cm
total: 110,2" x 48,8" / 297 cm x 123,9 cm
produced during residency at Santa Fe Art Institute
NM, USA, 2013

selection of EXHIBITIONS and PARTICIPATIONS
 
2015 UNSETTLED LANDSCAPES,
solo exhibition at SOMOS, Berlin, Germany. 
2013 Residency at SANTA FE ART INSTITUTE,
Santa Fe, New Mexico, USA. 
2011 Exhibition at GERMAN PARLIAMENT,
participation in site-specific competition. Germany. 
2009 Participation in open call MAXXI, Rome,
site-specific. Italy.
2009 Participation in open call, SHARJAH BIENNALE,
site-specific. UAE.
2008 Invited for ISEA SINGAPORE. Singapore.
Presented lecture SPACE AND NARRATIVE IDENTITY.
Funded by IFA, Stuttgart.
BOOKS
1: PAINTING KLAUS HU 2006 / 16
2: SPIRAL JETTY ACOMA BANDELIER 2013 / 14
3: NEW MEXICAN TRAVELS 2013
4: MARS_SPIRIT 2009 / 12
5: NY 92/12
EDUCATION
 
2011 curatorial training at UdK; University of the Arts, Berlin 
1998 / 99 guest study in cultural studies and multimedia at
Katharina Sieverding, UdK, University of the Arts, Berlin 
1985 / 91 studies in stage design, photography, video at
Achim Freyer & Marcel Odenbach, UdK, University of the
Arts Berlin
1982/83 studies in Anthropology, Germanic- and Romance
language / literature / University Heidelberg 
FELLOWSHIPS / RESIDENCIES
 
2013 Santa Fe Art Institute Residency, New Mexico, USA
studio grant
1992 fellowship for photography, Senate of Berlin, catalogue,
group show at Martin Gropius Bau, Berlin
page: klaushu.blogspot.com 
Los Alamos oil on canvas 120 x 140 cm 2015

4 T O M J U D D
P h i l a d e l p h i a - p a i n t i n g

Mt. Shasta oil on canvas 70 x 90" 2015

Point of Departure oil on canvas 70 x 84" 2014
"Manifest Destiny"
These paintings are like hymns for a
mysterious American landscape that we have
steadfastly conquered. They reﬂect the
misguided notion that the settling of the
western American landscape was somehow an
act of God. They capture a raw, dangerously
beautiful world, unforgiving and pointless.
Before freeways and shopping malls there was
this pristine, breathtaking view.
Although these paintings are done in a limited
palette, I don't think of them as dark, but
slightly melancholy, and mysterious. Time has
moved on.
"Let me ride through the ridge where the west
commences. Stare at the moon until I loose my
senses, I can't stand hobbles and I can't stand
fences...
Don’t Fence me in."
Cole Porter.

Columbia River oil on canvas 72 x 84” 2014

Tom Judd was born in Lawrenceville, New Jersey in 1952, but grew up
from the age of two with two sisters and a brother in Salt Lake City,
Utah. His father Thomas Grant Judd, a Salt Lake native, was a
grandchild of the famous Mormon president Heber J. Grant, although
Judd's family were not active church members. Judd's mother, Virginia
Rapp Leonard was originally from Indiana.
Judd attended the University of Utah from 1970 to 1972 when he
departed on a six-month leave of absence to travel in Europe. He
returned in 1973 to attend the Philadelphia College of Art where he
studied with Rafael Ferrer, Bob Kulicke, and Larry Day, graduating
with a BFA in painting in 1975.
Judd ﬁrst exhibited his art work at the Philadelphia Museum of Art in
1979, where at 25 he was included in a survey show entitled
"Contemporary Drawing: Philadelphia" curated by Ann Percy and
Frank Goodyear. The museum purchased a work from that exhibit for
their permanent collection.
Judd went on to exhibit his work in distinguished commercial galleries
beginning with his ﬁrst solo exhibit at Eric Makler Gallery in
Philadelphia in 1980. Judd was soon recognized in New York City,
including Monique Knowlton and Coe Kerr Gallery. In 1984 he was
given a solo exhibit at the Pennsylvania Academy of Fine Arts and had
work purchased for their permanent collection. In 1990, Judd had a ten-
year retrospect at the Philadelphia Art Alliance. The show also traveled
to the Salt Lake Art Center the following year. In 2009, Judd joined
forces with curator and gallery owner Allen Sheppard to produce
"Evidence of a Collected Past". This exhibition was staged at the Globe
Dye Works - an alternative art space in Philadelphia - and consisted of
a 20 year retrospective of Judd's works.
PRIZES AND FELLOWSHIPS
2006 Tandem Press, Fellowship Residency
2004 Millay Colony, fellowship for August
2001 Macdowell Colony, fellowship for July
2000 Pollock/Krasner Grant
SELECTED SOLO EXHIBITS
2016
DON'T FENCE ME IN, Modern West Fine Art, Salt Lake City, UT
HOME ON THE RANGE, Stremmel Gallery, Reno, NV
2015
THE MYTH OF THE FRONTIER, William Holeman Gallery, NYC
2014
MANIFEST DESTINY, Robischon Gallery, Denver, CO
HOMELAND/TOM JUDD AND REBECCA BIRD. William Holman Gallery, NYC
THE HERMIT PROJECT, The West Collection, Oaks PA
2013
LEAP, Liao Collection, Philadelphia, PA
TOM JUDD & JIM PHALAN, Cumberland Gallery, Nashville, TN
CONFIGURATIONS, William Holman Gallery, New York, NY
2012
THE ARCHAIC FUTURE, Clark Gallery, Lincoln, MA
TOM JUDD, Julie Nester Gallery, Park City, UT
2011
ARCHAIC FUTURE, Aedas Architects, Los Angeles, CA and New York, NY
THE WORLD IS FLAT, Stremmel Gallery, Reno, NV
THE LOST HIGHWAY, Dixie College Sears Gallery, ST. George, UT
SELECTED GROUP EXHIBITS
2011
Tom Judd, Patrick Locicero, Billy Renkl - New collages, Cumberland Gallery,
Nashville TN
2006
Rivising Arcadia, The Landscape in Contemporary Art,
Cornell Museum of Fine Art, Winter Park, FL
2003
Vanier Gallery, Scottsdale, AZ
Dichotomy Robischon Gallery, Denver, CO
A&C Fine Art, Inc., East Greenwich, RI
page: tomjuddart.com

5 L E V A N M I N D I A S H V I L I
NY / Tbilisi, Georgia - painting

Levan Mindiashvili
_Untitled (_mg_0469.jpg) 2015
_Untitled (_img_4015.jpg) 2015
_Untitled (img_3863.jpg) 2015
My artistic practice is based on investigation and exploration
of public and private spaces, on their dependence on each
other and their influence on contemporary society. We all are
facing the fact, that today the notions of “public” and
“private” are intertwined with each other and the borders are
blurred between communal and personal spaces. For me it is
extremely important to observe this process and to react to the
changes it triggers in our consciousness.Since 2010, I am
developing a body of work exploring urban landscapes that
inform our sense of identity and the intimate connections we
make with the spaces we inhabit. My works can be grouped in
two main series developed in parallel to each other:
architectural landscapes (“Urban Intimacies”) and unmade
beds exploring private spaces in “Studies for Shared
Intimacies.” Architectural series started with the observations
of exposed side facades of Buenos Aires (Argentina) while I
lived there, and after my move to New York this topic became
more intertwined with my personal story and the urge to
define and find the ‘place’. I became more focused on the idea
of ‘home,’ and the issues related with gentrification and
displacement; as for many of us today a sense of place is more
accurately identified as a sense of displacement — triggered
whether by the economics, gentrification, politics or
war. While in “Studies for Shared Intimacies,” by depicting
my own unmade beds, I’m asking myself whether this is
sincerity, or merely a self-indulgent narcissism, an
overwhelming flow of one’s privacy that almost violently
transforms us into voyeurs?

Levan Mindiashvili
_Untitled (_n/a_.jpg) 2015

Born 1979, Tbilisi (Georgia);
Currently resides and works in New York.
Education
2010
“Streaming_media” – use of media and TV technologies
in contemporary art. Fundacion Telefonica, Buenos Aires (Argentina);
2008/2010
Postgraduate studies in multidisciplinary projects
at IUNA (National University of Art of Buenos Aires) Argentina;
1997/2003
Tbilisi State Academy of Fine Arts;
Awards
2014
FABLES Grant, National Endowments for Arts, New York;
2011
Emerging artists of 2011. Movistar Arte Jóven 2011,
Centro Cultural Borges, Buenos Aires, Argentina
2010
The 3rd Award for the Drawing, Premio Museo Metropolitano,
Buenos Aires, Argentina;
Solo Exhibitions
2016
“Unintended Archeology” in collaboration with Uta Bekaia,
The Lodge Gallery, New York;
2015
“Suites For Unintended Archeology”, The Vazquez Building,
New York;
2014
“Borderlines”, The Lodge Gallery, New York;
2013
“Whispers,” ArtAreaTV_2.0 Art Gallery, Tbilisi, Georgia;
“Urban Identities”, Kunstraub99, Cologne, Germany;
Group Exhibitions (selection)
2016
“(extra)ordinary”, The Hollows, Brooklyn, NY;
“All Tomorrow’s Parties”, Hathaway David Contemporary, Atlanta, GA;
“Aesthetics of Repair in Contemporary Georgia”,
Tartu Art Museum, Estonia; (June) “A Room of One’s Own: An
Exhibition”, Clemente Soto Velez Cultural Center, New York City, NY;
2015
“Structures”, The Manny Cantor Center, New York City, NY;
“Kiosk”, Odetta, New York, NY; ArtInternational, Istanbul, Turkey;
“Heritage”, RichMix Arts Center, London, UK;
2014
“Crossing The Boundaries.03,” AT388, Rotterdam, The Netherlands
WAG Mag Beneﬁt Auction, (represented by Fountain Art Fair),
Kunsthalle Galapagos, Brooklyn, NY;
Fountain Art Fair Armory, New York City, USA
2013
“Heritage,” Georgian National Museum, Tbilisi, Georgia
“For Which It Stands,” The Lodge Gallery, New York City, NY;
“Crossing The Boundaries.02,” AT388 art gallery, Rotterdam, The
Netherlands;
Berliner Liste 2013, Berlin, Germany;
Ch.ACO13 Contemporary Art Fair, Santiago, Chile
Fountain Art Fair ARMORY NY, New York City, USA
page levanm.com

Bonestell_1772A_annotated
Bonestell_1772A_L257F
Bonestell_1772A_L456atc
Bonestell_1772A_L2R2ana archival pigment prints 63 x 112 cm courtesy NASA / JPL-Caltech of Mars_Spirit rover approx. 2010

Bonestell_1477A_1599A_L257F
Bonestell_1477A_1599A_L257atc
archival pigment prints 63 x 112 cm courtesy NASA / JPL-Caltech of Mars_Spirit rover approx. 2010

7 TIMOTHY O SULLIVAN 1872 / 74
p h o t o g r a p h y
early geological survey expedition of the West

Twin buttes stand near Green River City, Wyoming, photographed in 1872 four years after settlers made the river basin their home. Green River and its distinctive twin rock formations that stand over the
horizon was supposed to the site of a division point for the Union Paciﬁc Railroad, but when the engineers arrived they were shocked to ﬁnd that the area had been settled and so had to move the railroad west
12 miles to Bryan, Wyoming.
The south side of Inscription Rock (now El Morro National Monument), in New Mexico in 1873. The prominent feature stands near a small pool of water, and has been a resting place for travellers for centuries.
Since at least the 17th century, natives, Europeans, and later American pioneers carved names and messages into the rock face as they paused. In 1906, a law was passed, prohibiting further carving.

Timothy O'Sullivan, who used a box camera, worked with the Government teams as they explored the land. He had earlier covered the U.S. Civil War
and was one of the most famous photographers of the 19th century. He also took pictures of the Native American population for the first time as a team
of artists, photographers, scientists and soldiers explored the land in the 1860s and 1870s. The images of the landscape were remarkable - because the
majority of people at the time would not have known they were there or have ever had a chance to see it for themselves. O'Sullivan died from
tuberculosis at the age of 42 in 1882 - just years after the project had finished. He carted a dark room wagon around the Wild West on horseback so that
he could develop his images. He spent seven years exploring the landscape and thousands of pictures have survived from his travels. The project was
designed to attract settlers to the largely uninhabited region. O'Sullivan used a primitive wet plate box camera which he would have to spend several
minutes setting up every time he wanted to take a photograph. He would have to assemble the device on a tripod, coat a glass plate with collodion - a
flammable solution. The glass would then be put in a holder before being inserted into a camera. After a few seconds exposure, he would rush the plate
to his dark room wagon and cover it in chemicals to begin the development process. Considered one of the forerunners to Ansel Adams, Timothy
O'Sullivan is a hero to other photographers according to the Tucson Weekly. 'Most of the photographers sent to document the West's native peoples and
its geologic formations tried to make this strange new land accessible, even picturesque,' said Keith McElroy a history of photography professor in
Tucson. 'Not O’Sullivan. 'At a time when Manifest Destiny demanded that Americans conquer the land, he pictured a West that was forbidding and
inhospitable. 'With an almost modern sensibility, he made humans and their works insignificant. 'His photographs picture scenes, like a flimsy boat
helpless against the dark shadows of Black Canyon, or explorers almost swallowed up by the crevices of Canyon de Chelly.’
photos courtesy Timothy H. O'Sullivan Photographs, David M. Rubenstein Rare Book & Manuscript Library, Duke University. Durham, North Carolina

8 E L I S A P R I T Z K E R
N Y - o b j e c t s / s c u l p t u r e

Selknam Installation 2017
varied materials and sizes at Elisa Pritzker

After a trip more than ten years ago to Ushuaia -
called "the city at the end of the world"- in southern
Patagonia, I felt compelled to and began a period
of research into the lifestyle and spiritual-shamanic
beliefs of the Selknams. They were one of the
original inhabitants from Argentina and Chile that
lived there for thousands of years. Mostly due to a
genocide during the 20th century the Selknams are
now extinct. About four years ago, my own art
came to reﬂect my fascination with the Selknam
People. Considering that they had the most ancient
way of living, -hunter-gatherers- the Selknam were
rich in rituals, had a remarkable set of principles, a
profound sense of community, respect for the
family and they revered nature, women power and
re-using everything on earth.
Selknam Stone 2016 stone, paint, bone, leather, thread 9 x 7 x 5.5 inches by Elisa Pritzker
Ceremonial Sticks, close-up 2016-17 wood sticks,
paint, varied materials and sizes by Elisa Pritzker

SOLO EXHIBITIONS | INSTALLATIONS

2017 .Hudson Valley Center for Contemporary Art, Peekskill, NY
2016 .Space Create, Newburgh . New York
2015 .KMOCA [Kingston Museum of Contemporary Art], Kingston, NY
2012 .The StoreFront Gallery, Kingston . NewYork
2012 .ArtexArte Gallery, Buenos Aires . Argentina
2012 .Galeria de Arte Buenos Aires Sur, Buenos Aires . Argentina
2012 .BAU Gallery, Beacon . New York
page: elisapritzker.com
TWO-THREE-FOUR PERSON EXHIBITIONS
2014 .Auditorium-Centro Provincial de las Artes, Argentina
2013 .MCF_A@ Cold Spring, NY |w/Hinnemo, Lucas, Oliveri
2013 .Taste Modern Berlin Art Gallery, Berlin-Germany
GROUP EXHIBITIONS / ART FAIRS / ART ACTIVITIES [selected listing]
2015-6 .Fresh Winds in Gardur Biennial | Iceland
2015 .The Jerusalem Biennale | Jerusalem Israel
2014 .Sculpture Center. Desert Island Pop-Up | Brooklyn NY
2014 .Vassar College | Palmer Gallery, Poughkeepsie NY
2014 .Momenta Art | Brooklyn NY
2014 .Argentine Consulate Art Gallery, New York NY
Elisa Pritzker has exhibited at MoMA, Queens Museum and Dorsky Museum in group exhibits. She has participated at the Affordable Art Fair NYC &
London UK, London Biennale-Creative Village Medienparty in Berlin Germany, Pinta Fair NYC, Fountain Art Fair and EGGO-Cordoba Art Fair in
Argentina. She was selected the US artist for The Pyramids of Naxos, Greece during Olympics for an environmental project The Pyramid of Naxos.
From 2004 to 2012, she exhibited with the Franklin 54 Gallery, Chelsea NYC. Among many other venues: Dumbo Arts Center & Nurture Art, Brooklyn.
Others in the Hudson Valley: Kingston Museum of Contemporary Arts [KMOCA] and Hudson Valley Center for Contemporary Art [HVCCA],
Peekskill. In 2012 she presented a solo-installation at the prestigious Galeria Arte x Arte, Buenos Aires, Argentina. Other exhibits were at Galerie Taste
Modern Berlin in Berlin Germany and Auditorium-Centro Provincial de las Artes, Argentina.

Her art is collected privately worldwide and it’s in several institutions. Her works were incorporated to the permanent collections from Jean Cherqui Art
Collection, Paris. France & New York, Brooklyn Art Library, Brooklyn NY, the Dorsky Museum in New Paltz NY, Argentine Consulate in New York City,
the Wiseman Gallery/Rogue Community College in Grants Pass Oregon, The New York Eye & Ear Inﬁrmary, New York NY, Global Art Project in Tucson
AZ and the Luz & Alfonso Castillo Foundation, Buenos Aires Argentina.

Among many publications, Pritzker was featured at Hyperallergic, CNN-in Spanish, Chronogram Magazine and her "Eclectica Store" was showcased in
the New York Times.
The “Spirit of the Selknams” short ﬁlm by Stephen Blauweiss aired on PBS Channel on Oct. 14th, 2015. She participated in the 2015 Jerusalem
Biennale at the Skirball Museum and in the International Art Biennial in Gardur, Iceland Dec 2015-Jan 2016. Her last 2016 exhibit was at The Project
Space in Harlem, NYC.

9 W A R D S H E L L E Y
NY - painting / drawing / installation

History of Science Fiction
2008
acrylic on mylar 54” x 28”
A graphic chronology that
maps the literary genre
from its nascent roots in
mythology and fantastic
stories to the somewhat
calcified post-Star Wars
space opera epics of today.
Science fiction progressed
through a number of
distinct periods, which are
charted, citing hundreds of
the most important works
and authors. Film and
television are covered as
well.
Extra Large Fluxus Drawing
2008-9
An ambitious and
comprehensive diagram of
the last true international
avant garde art movement.
This piece includes every
significant participating
artist and all their related
major events. It cites the
primary influential sources
in the USA and Germany and
depicts their convergence,
and follows the movement up
to the death of George
Maciunas.

People of the Book
2011
This piece charts the history
of the Jewish people, their
migrations across the world
(the diaspora) and the
development of their texts
and culture. People of the
Book uses historical
documents, not religious
sources, and attempts to
present a 3000 year history
as a broad panorama to
reveal the broad movements
of this important culture.
The Beats
2008
Following the lives and
work of a small group of
American poets, this
documents the inﬂuential
cultural and literary
movement they founded,
which inspired the
American folk culture and
the counterculture
movements of the 60’s, a
decade later.

Ward Shelley works as an artist in Brooklyn, New York. He specializes in
large projects that freely mix sculpture and performance. Utilizing
eclectic influences and a variety of media, Shelley’s installations defy
classification. Over the last five years, Shelley has concentrated on
bizarre functioning architectural pieces in which he lives and works
during the exhibition monitored with live surveillance video equipment.
Shelley also works on a series of diagramatic paintings, timelines of art-
related subjects such as the careers of artists working in de-materialized
media and the history of art scenes. The best known of these is the
Williamsburg Timeline Drawing and Downtown Body, recently published
in Bomb Magazine.
He first exhibited as an artist in Miami. He earned his Masters degree
from NYU and has been working and showing in New York since then.
He moved his studio to Williamsburg in 1994 and also began exhibiting
in Europe at that time.
Shelley has exhibited in more than 10 countries. Among works from the
last 10 years are the interactive video-environment “the Cube”, the
legendary Mir 2 Project, and the Voyage Platform. In 2004 Shelley lived
and worked inside the walls of Pierogi Gallery for 5 weeks for an
exhibition called “We have mice”. Shelley also works with the
collaborative artist group BBS and talented young artists such as
Douglas Paulson and Alex Schweder with whom he realized the
monumental Flatland project at New York's SculptureCenter in 2007.
Ward Shelley's work is in a number of museum collections including the
Museum of Modern Art, the Brooklyn Art Museum, and The Elizabeth A.
Sackler Center for Feminist Art. Last year Shelley received a painting
and Sculpture award from the Joan Mitchell foundation, and has been a
fellow of the American Academy in Rome since 2006. He has received
NYFA and NEA fellowships in sculpture and new media categories, a
Bessie Award for installation art, as well as private foundation grants
from the Jerome Foundation and the Pollock-Krasner Foundation. He is
represented by Pierogi Gallery in Brooklyn, New York.
page: wardshelley.com
BORN
Auburn, New York. 1950
EDUCATION
MA New York University
BFA Eckerd College, Art and Communications
SOLO EXHIBITIONS
2016 “The Felicific Calculus,” Pierogi, New York, NY
2015 “The Last Library,” SPACES, Cleveland, OH
2014 “In Orbit,” The Boiler, Brooklyn, NY (Two-person, with Alex Schweder)
2012 Unreliable Narrator, Pierogi, Brooklyn, NY
Unzuverlässiger Erzähler, Teapot Gallery, Cologne, Germany
State of Things, The Flat, Massimo Carasi Gallery, Milan
2011 Counterweight Roommate, Featured installation / performance at Scope Basel, Switzerland
2010 Well-Made World, Center for Contemporary Art, and Launch Projects, Sante Fe, New Mexico
2009 “Who Invented the Avant Garde (and other half-truths),” Pierogi, Brooklyn, NY
“Stability–And Other Tenuous Positions,” Lawrimore Project, Seattle, WA
SELECTED GROUP EXHIBITIONS
2015 “The Menu for Mars Kitchen,” The Boiler, Brookyln, NY.
Curated by Heidi Neilson and Douglas Paulson
“Destroy, she said,” The Boiler, Brooklyn, NY. Curated by Saul Anton and Ethan Spigland
2014 “PIEROGI XX: Twentieth Anniversary Exhibition,” Pierogi, Brooklyn, NY
“Idiom II,” Pierogi, Brooklyn, NY
“Some Artists,” MINUS Space, Brooklyn, NY
“Intangible,” Lesley Heller Workspace, New York, NY
“Standard of Living,” Gallery 400, Chicago, IL
“Fountains of the Deep: Visions of Noah and the Flood,” 462 West Broadway, New York, NY.
Curated by Darren Aronofsky
“Art into Music,” BRIC Arts Media House, Brooklyn, NY
2013 “Classless Society,” Tang Museum, Saratoga Springs, NY
“CLOUDS,” Lesley Heller Workspace, New York, NY
“Unhinged,” Pierogi, Brooklyn, NY
AWARDS
The Joan Mitchell Foundation Award for Painting and Sculpture, 2007-08
American Academy in Rome Fellowship, 2005-06
Installation/New Media "Bessie" Award, New York Dance and Performance Awards Committee a
nd Dance Theater Workshop
New York Foundation for the Arts, New Media Fellowship
Rema Hort Mann Foundation
Farpath Foundation
Jerome Foundation, Sculpture
Emerging Artist Fellowship, Socrates Sculpture Park
New York Foundation for the Arts, Sculpture Fellowship
Pollock Krasner Grant
Southern Arts Federation/National Endowment for the
Arts Fellowship Award for Sculpture
Goodman Award for Art and Technology
Florida State Visual Arts Fellowship

RECENT RESIDENCIES
SPACES, Cleveland, OH
Civitella Ranieri, Umbria, Italy
Vermont Studio Center
Guest Artist Program, North Rhein Westphalia, Dusseldorf, Kunstlerverein Malkasten
Farpath, Dijon, France

10 ROBERT SMITHSON *1938 / †1973
land art / photography / painting / film

Robert Smithson (b. 1938, Passaic, New Jersey, d. 1973, Amarillo, Texas), was an American artist, internationally renowned for pioneering the
earthworks movement of the late 1960s and early 1970s. Smithson is best known for taking artwork out of the confines of the White Cube, with his
iconic earthwork, Spiral Jetty (1970), as well as other land art works such as Broken Circle/Spiral Hill (1971) and Amarillo Ramp (1973). Smithson
studied painting and illustration at the Art Students League of New York as a young man, and by 1963, had five solo gallery exhibitions.
SPIRAL JETTY, 1970, by Robert Smithson (32 minutes) color
This film, made by the artist, Robert Smithson, with the assistance of Virgina Dwan, Dwan Gallery & Douglas Christmas, Director, Ace Gallery, (the
aforementioned Dwan & Christmas also assisted Smithson financially with the making of the Spiral Jetty), is a poetic and process minded film
depicting a "portrait" of his renouned earth work -- The Spiral Jetty, as it juts into the shallows off the shore of Utah's Great Salt Lake. A voice-over by
Smithson reveals the evolution of the Spiral Jetty. Sequences filmed in a natural history museum are integrated into the film featuring prehistoric relics
that illustrate themes central to Smithson's work. A one minute section is filmed by Nancy Holt for inclusion in the film as Smithson wanted Holt to
shoot the "earth's history". This idea came from a quote Smithson found …"the earth's history seems at times like a story recorded in a book each page
of which is torn into small pieces. Many of the pages and some of the pieces of each page are missing". Smithson and Holt drove to the Great Notch
Quarry in New Jersey, where he found a facing about 20 feet high. He climbed to the top and threw handfuls of ripped pages from books and
magazines over the edge of the facing as Holt filmed it.
© Estate Robert Smithson / courtesy James Cohan gallery NY

RUNDOWN 1969
a film by Bob Fiori, (13 minutes) color, with voice-over by Nancy Holt, is a film that
documents images of Smithson's entropic site specific pours, Asphalt Rundown, Rome,
Italy, 1969; Concrete Pour, Chicago,November 1969; Glue Pour, Vancouver, January
1969, through the use of"stills" and filmed footage. This film was completed in 1993
HOTEL PALENQUE 1969
& Solomon R. Guggenheim Museum, New York

1 1 R A L F T E K A A T
Berlin - drawing / installation

Massifs is a series of pencil drawings showing huge, scenery-
like mountain landscapes. Some of the drawings are in one
others in several pieces (most of them in nine, but they could
also be continued). The ﬁnal size is about 310 to 220 cm.
These are no real landscapes, they have no model. They are
something in between real rocks and build scenery. The
drawing itself arises out of the process of drawing. It take me
up to three months to ﬁnish them. Layer over layer of hatching
build up a structure which is reminiscent of rocks and
mountains. But in some points they just became abstract form
and structure.
Wing 2012 pencil on paper 110 x 300 cm Rock 2010 pencil on paper 150 x 110 cm

Massif 4, 2012 pencil on paper 310 x 220 cm 9 parts Massif 7, 2016 pencil on paper 310 x 220 cm 9 parts

Memorial For The Unknown Iceberg 2015-17 series of drawings, about 260 x 400 cm
mixed media, pencil, colored pencil, acrylic, watercolor on paper

Ralf Tekaat was born 1970 in Bobingen, Bavaria. He studied Visual
Communications at the University Of Applied Sciences, Münster and
ﬁnished there 1997 with diploma. From 1997 to 2002 he studied Visual
Arts at the University Of The Arts Bremen in the classes of Wolfgang
Schmitz and Paco Knöller. 2002 after graduation he integrated the master
class of Paco Knöller. Since 2005 he had several lectureships at the
University Of The Arts, Bremen. From 2012 to 2013 he had a lectureship
at the University Bremen. He lives and works in Berlin, Germany. He
discribes himself as a drawer and he focuses on paper work. In his huge
pencil drawings severeal layers of hatchings create slowly objects. In his
wall installations there is a more a kind of story telling.
1970             born in Bobingen, Germany
1992 – 97     studying Visual Communications
at the University Of Applied Sciences, Münster,
1997             Diploma
1997 – 2002 studying Visual Arts at the University Of The Arts Bremen
at Prof. Wolfgang Schmitz,
                     Prof. Paco Knöller und Andreas Grunert
2002             Diploma
2003             master pupil of Prof. Paco Knöller
2002 – 05 managing committee and studio at the Künstlerhaus Bremen
2005 – 08     lectureship at the University Of The Arts, Bremen
2007             work stay at Point B, Brooklyn, NY (blog)
2008             half year stay in Brooklyn, NY (blog)
2011 – 12     lectureship at the University Of The Arts, Bremen
2012 – 13     lectureship at the University Bremen
lives and works in Berlin, Germany
Scholarships and awards
2017 artist in residence, Galleri Svalbard, Spitsbergen Norway
2012 nominee for Tempelhof-Schöneberger Art Prize
2010 nominee for Paula Modersohn-Becker Art Prize
2008 one-year stipend of the State of Lower Saxony, Germany
2008 artist in residence, Brooklyn Artists Gym, New York
2007 artist in residence given by city Wertingen, Germany
2007 Prize for the Visual Arts of the Kunstverein Bobingen, Germany
2006 one-year stipend of Stiftung Kunstfonds, Bonn, Germany
2006 one-year stipend of the State of Lower Saxony, Germany (not enter)
page: ralftekaat.de
solo exhibitions (selected)
2017 Svalbard, Green Hill Gallery, Berlin
2015 Far From Any Road, NON Berlin (with Duk Hee Jordan)
(curated by Elisa Rusca)
2015 Parterre, tapir kunstraum, Berlin
2014 Mythos Detmold, (coop with Norbert Bauer) Galerie vom Zufall
und vom Glück, Hannover (cat.) (curated by Ute Stuffer)
2014 42, Nachtspeicher 23, Hamburg
2014 Ralf Tekaat - 3 drawings, The Wall @ Re: Surgo!, Berlin (curated
by Vincent Surmont)
2014 Kulisse, Galerie Mitte, Bremen
2013 Massive, Kulturschöpfer, Berlin
2013 42, G.A.S.-Station, Berlin
2012 Sammeln Sie Punkte, Ausstellungsraum AD, Bremen
2011 Irgendwas mit Wald, GaDeWe, Bremen, (cooperation with Norbert
Bauer
group exhibitions (selected)
2017 Wand, Galerie Herold, Bremen
2016 25 Jahre Cuxhavener Kunstverein, Cuxhavener Kunstverein 
2016 Non plus ultra minus multiversum, kunstraum tapir, Berlin
2015 18 X 8 : From Point A to PointB and back again…, Point B,
Brooklyn, NY 
2015 FAK im Viertel, Galerie Speckhaus, Hamburg
2015 Anonyme Zeichner *, Galerie Nord / Kunstverein Tiergarten,
Berlin 
2015 Anonyme Zeichner *, Galerie ArtQ13, Rom
2014 6. Biennale der Zeichnung, Kunstverein Eislingen, (cat.) (curated
by Paul Kottmann)
2014 Freies Ausstellungs Kollektiv, Neurotitan, Berlin
2013 Landschaft berührt, Galerie Mitte, Bremen (curated by Uwe
Mokry)
2013 covern - besser als das Original, Spedition, Bremen (cooperation
with Norbert Bauer) (cat.)
2013 Dysraphic City, Kunstraum Kreuzberg / Bethanien, Berlin (coop
with N. Bauer) (curated by Charlotte van Buylaere a.o.)
2013 Arbeiten auf Papier, Galerie Kramer, Bremen

1 2 D E R R I C K V E L A S Q U E Z
Denver - objects / sculpture

velasquez_untitled157_46x66x1.5_med, Derrick Velasquez 2017, vinyl and wood

velasquez_untitled
148_30x25x1_med
vinyl and wood

velasquez_untitled
153_29x28_1_med
vinyl and wood

The Untitled series come directly from a practice of bookbinding and observations about the the
physical body. Made of marine vinyl, they are hand cut, stacked and layered to create random
and more formal patterns of colors. This work was initially inspired by the formal process of
creating leather bound sketchbooks. The cutting of paper and enveloping it with fabric as a layer
of protection gives way to ideas of accumulation as a material based practice but also an
intellectual one within the pages of a book. The works themselves contain the natural force of
gravity which imposes its will onto the industrially manufactured vinyl. Other allusions are
referenced as well; for example the armature of corporeal bone supports muscle, tendon and
skin layered to become the organically shaped curves that are our shoulders, hips, forearms and
chest.
Born 1982 in Lodi, California Currently resides in Denver, Colorado
EDUCATION
2008 Master of Fine Arts in Sculpture– The Ohio State University
2004 Bachelor of Arts, Studio Arts – University of California, Santa Barbara
Bachelor of Arts, Art History – University of California, Santa Barbara
SELECTED SOLO AND TWO PERSON EXHIBITIONS
2017 Obstructed View – Museum of Contemporary Art Denver – Denver, CO
Constant Denial – Robischon Gallery – Denver, CO
2016 Business Casual – Pentimenti Gallery – Philadelphia, PA
New Brutal 2 – Black Cube Nomadic Art Museum Alumni Project – Denver, CO
2015 New Brutal - Black Cube Nomadic Art Museum Project – Aurora, CO
2014 A Language of Structure – Boulder Museum of Contemporary Art, Boulder, CO
2013 VOLTA:NY – With Pentimenti, New York, NY
Eighty Layer Cake - Pentimenti, Philadelphia, PA
2011 I am Kevin Durant – Boxcar Gallery, Denver, CO
2010 New Works: Derrick Velasquez and Ella Trujillo – Abacedarian Gallery, Denver, CO
AWARDS AND RESIDENCIES
William and Dorothy Yeck $10,000 Young Sculptors Competition Purchase Award - 2015 Black Cube
Nomadic Art Museum Artist Fellow - 2015
Colorado Creative Industries Career Advancement Award - 2015
Vertigo Art Space Artist Residency (as Stapleford Collective), Denver, CO 2012
CURATORIAL PROJECTS
Open Shelf Library – Museum of Contemporary Art – Denver, CO (forthcoming) 2017
Jamie Knowlton: Will You Be Coal, Or Will You Be Waves – Yes Ma’am Projects – Denver, CO 2017
Transforming Milk Into Milk – Redline Contemporary Art Center – Denver, CO 2016
SELECTED GROUP EXHIBITIONS
2016
The Cut and the Crumb – The Frame Gallery at
Carnegie Mellon – Pittsburgh, PA
Rules of the Game – Transmitter – New York, NY
Summer Flash – Pentimenti Gallery – Philadelphia, PA
PULSE New York – With Pentimenti Gallery, New York
2015
Miami Project – with Robischon Gallery – Miami, FL
Young Sculptors Competition – Juror: Anne Barlow –
Hiestand Gallery - Miami University, Oxford, OH The
Summer Show – dm contemporary – New York, NY
Summer Currents, Pentimenti Gallery, Philadelphia, PA
Thief Among Thieves – Museum of Contemporary Art
Denver – Denver, CO
DeCo SLUt – Gildar Gallery, Denver, CO
Faculty Triennial – Myhren Gallery, University of
Denver, Denver, CO
2014
More Than Friends – Ironton Studios, Denver, CO
Out-Of-Towners, Satellite Contemporary, Las Vegas, NV
Out of Line – Robischon Gallery, Denver, CO,
Contemporary Colorado – Curfman Gallery, Colorado
State University, Fort Collins, CO Fashion/Culture –
McNichols Building in Civic Center Park, Denver, CO
Sights For When The Sun Arrives, - Pentimenti Gallery,
Philadelphia, PA
MAYDAY – Entre Nous – Denver, CO
Everyone’s Time is Their Own – Curated by Gabe Scott –
Alter Space, San Francisco, CA
Raw to Reﬁned – Pearlstein Gallery - Drexel University,
Philadelphia, PA
2013
Context Miami – With Pentimenti, Miami Beach, FL
Materialized – Robischon Gallery, Denver, CO
Art of the State - Arvada Center for the Arts, Arvad, CO
Art on the Edge – FOCA Biennial – New Mexico
Museum of Art, Santa Fe, NM
page: derrickvelasquez.com

BLDGBLOGpage: http://www.bldgblog.com/2015/02/american-mine/
BLDGBLOG (“building blog”) was launched in 2004 and is written by Geoff Manaugh.
excerpts of Geoff Manaugh`s blog will be screened during the exhibition
Architectural Conjecture :: Urban Speculation :: Landscape Futures
In addition to this site, I’m the author of two books—the New York Times-bestselling A Burglar’s Guide to the City and The BLDGBLOG
Book—as well as editor of a third, Landscape Futures: Instruments, Devices and Architectural Inventions. A Burglar’s Guide to the City is
currently being adapted for television by CBS Studios.
My writing has been published in The New York Times Magazine (including features about self-driving cars and the LAPD Air Support
Division), The New Yorker (including a piece about the “ancient roads” of Vermont), Cabinet Magazine, The Atlantic, Popular Science,
The Daily Beast, Domus, Travel + Leisure, New Scientist, and many others. My article for The Daily Beast about a former Los Angeles
bank robber sent overseas to plot heists against al Qaeda is currently being adapted for ﬁlm by Studio 8. I have also contributed essays to
multiple books, exhibition catalogs, and artist monographs, including publications by photographers David Maisel, Bas Princen, and
Michael Wolf, artist Ai Weiwei, and architects Philip Beesley and Bjarke Ingels.
In addition to writing, I frequently lecture on topics related to architecture, technology, and landscape at venues around the world, such as
the Aspen Ideas Festival, the Harvard University Graduate School of Design, the Australian National Architecture Conference, Georgia
Tech, the Canadian Centre for Architecture, the Architectural Association, and the Bauhaus Universität in Weimar. Previously, I was senior
editor of Dwell and a contributing editor at Wired UK, and I am former director of Studio-X NYC, an urban think tank and event space at
Columbia University’s Graduate School of Architecture, Planning and Preservation.Architectural Conjecture :: Urban Speculation ::
Landscape Futures
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