Limnal Lacrimosa in Kalispell, Montana! New York Times, T Magazine
Vanishing Point was installed with the help of Focal Point Gallery and Metal in the UK:
Focal Point Gallery and Metal announced this public art commission as part of Estuary 2021. Vanishing Point, a two part installation comprised of a learning centre located on Southend Pier and a floating sculpture moored in nearby waters. It considers how the plant life of the Thames Estuary has evolved and responded to a changing climate over millions of years, and how this knowledge might be used as a prediction for a nearing future.
Installation view: Mary Mattingly, Public Water: Watershed Core, 2021, sculpture, 144 x 144 x 120 inches. Installation view, Prospect Park, New York, 2021. Courtesy More Art. Photo: Manuel Molina Martagon. Watershed Core, a 10ft tall geodesic dome, is designed as a structural ecosystem covered in native plants that filter water in a gravity-fed system that mimics the geologic features of the watershed: New York Times by Martha Schwendener, Brooklyn Rail by Julie Riess, New York Times by Melissa Smith, Dezeen by Jane Englefield, Metropolis by Jane Levere.
2020: November 14, the Catalog for Overview Effect curated by Blanca De la Torre and Zoran Eric at MOCA Belgrade comes out along with a soft opening of the exhibition.
August 23, Libro de recetas para un planeta otro (Recipe book for another planet) launches, curated by Blanca De la Torre for the Bienal Cuenca. "Libro de recetas para un planeta otro. En tiempos de pandemia, la Bienal de Cuenca busca un camino alterno que permita la supervivencia, el respiro y la accion, como explica su directora Katya Cazar: "Ahora mas que nunca se requiere de propuestas afincadas en un trabajo creativo de calidad, que deje testimonios de este habitar, de este drama convertido en un deshumanizante numeral de victimas siempre en aumento." link
June 30, This week a Year of Public Water launched with @moreartnyc. A Year of Public Water is an invitation to examine our relationship to water in order to co-build more equitable partnerships between downstream water-receiving communities and upstream water-source communities. Join us each week for a new release of content including research, guest interviews, and calls to action. Click the link in our bio to access public-water.com or follow #YearOfPublicWater
A Year of Public Water examines the complex history of NYC's drinking watershed, bringing attention to the often unseen labor that people, along with the broader ecological community, undertake to care for water. As the U.S. experiences a heightened health, economic, environmental, and water poverty crisis, millions of people face obstacles to access safe, clean running water daily. Agricultural runoff, byproducts of disinfection agents, as well as aging infrastructure like lead pipes have contaminated drinking water, especially in BIPOC and low-income communities. Addressing environmental, health, and economic conditions in and around New York City’s watershed and public water system is a vital precondition for the creation of a more just present and future for upstream and downstream New Yorkers. A Year of Public Water is an invitation to examine our relationship to water in order to co-build more equitable partnerships between downstream water-receiving communities and upstream water-source communities. public-water.com
Ecotopian Library at the University Art Museum at CU Boulder
Along the Lines of Displacement in Indicators: Artists on Climate Change | The Guardian | The New York Times| Art in America | Vulture | NRDC | Curbed | the New Yorker | Hyperallergic
Because For Now We Still Have Poetry in The New York Times | Hyperallergic
"Waterfront Development" on Art 21 New York Close Up and in Art in America
House and Universe: Artforum | ArtNews | Art in America 1 - 2 - 3 | New York Times | New Yorker | Interview Magazine
"Mary Mattingly Owns Up" on Art 21 New York Close Up
July 21, This new “Earth Issue” shares parts of the Wearable Homes project I worked on in-depth from 2001-2008. I started making wearable sculptures in 2001. They incorporated very personal concerns about a growing lack of access to clean water with future speculations about sea level rise and ecological instability. As both a climate change prediction and an assumption that more people will lack access to basic resources, the “Wearable Homes” project bordered on an absurd and dystopic commentary about what consumption could look like after most everything imaginable had been sold and people navigated through desertified terrains. While the project assumed one set of future conditions based on a dominant extractive culture, it also fetishized an alienation brought on by electric technologies and control. The pandemic has created another set of conditions for separation. It strikes me that 'reachers' and 'receivers' on the Wearable Homes (so there would be no need for bodily contact with each other) would have been undeniably useful in the time of Coronavirus physical distancing.
During Coronavirus I started making and wearing the wearable homes again. These are simple, monastic suits, they don’t do anything special.
1. Dry Season, 2007
2. The Earth Issue cover with The New Mobility of Home, 2005
3. Jason in a simple monastic covering, an updated wearable home, 2020
June 16th, ecofeminism(s) opens at Thomas Erben Gallery in Manhattan
May 22, I wrote about coronavirus in March for Art Spiel and in May for the Wall Street Journal. We're of course still in it, and I've been making wearable homes (a project I focused on between 2001 - 2006) but these are more monastic. I've also been able to complete a commission for a pollinator color field, and have spent part of the spring with plants. I have an autoimmune disease which makes me more succeptible to coronavirus, so plants are an ideal community for me this spring. I coudn't be more grateful.
2019: December 12, I spent the fall working towards the Ecotopian Library: www.ecotopianlibrary.com at UofC Boulder doing a fellowship with the University Art Museum.
On July 15 Stormy Weather opened at Museum Arnhem in the Netherlands: https://www.museumarnhem.nl/tentoonstellingen/stormy-weather/
On April 22nd, I'll be speaking at an Aperture Conversations panel at the New School led by Eva Diaz.
On April 7th I'll be speaking all week at the Conference on World Affairs, University of Colorado, Boulder, CO.
March - May, Because for Now We Still Have Poetry at Hearst Gallery's Metamorphosis: Changing Climate
In February, "Soil Stories" and "Land Library" both open at St. Francis College in Brooklyn. Stop in and bring us some soil!
In January please take part in Soil Stories workshops with me and Triple Canopy.
On December, Art in the Age of the Anthropocene opens at the Harn Museum.
On May 19th, Indicators: Artists on Climate Change will open at Storm King.
On April 19th, "Because For Now We Still Have Poetry" will open at Robert Mann Gallery.
On April 12th and 13th I'll be at the Des Moines Art Center presenting "The Supply Chain and the Sublime" as well as performing on the Art Center's grounds.
From March 5 - April 5 I'll be in residence at the Rauschenberg Foundation's Captiva Residency in Florida.
On February 23rd, I'll be in St. George, Utah giving a keynote lecture and workshop for UAEA and on the 24th visiting Bears Ears National Monument.
On January 27th, I'll be presenting Swale at 2pm at the 92nd St. Y in Manhattan as part of a Future Cities conference.
On January 19th Land/Trust opens at Maryland Institute of Contemporary Art in Baltimore from 6-8pm.
On January 11th, I'll be speaking at the Provincetown Art Center in MA at 6pm.
On November 16th at 6pm "Food is Love: Tanya Fields, Ben Hall, and Mary Mattingly in Conversation" will be held at the 8th Floor in Manhattan.
On October 6th, "I'll Go On" opens at Watkins College of Art in Nashville, TN.
On September 30th, "Everything At Once" opens in Boulder, Colorado with Boulder Public Art.
What are the connections between military action and material extraction in the U.S.? How do we understand a bigger system that was written for us, before us, and by proxy perpetuated by us? The ever presence of objects with violent histories undeniably draws out the connections and contradictions we live with everyday in the U.S. With an expanding military economy and slow erosion of public services, the sculpture titled “Everything At Once” engages not in silence or silos but instead turns outward to reimagine public life together. Charred wood from a U.S. public school, a military trailer used in Afghanistan, public water, agricultural tank, plants, and light make a bridge for communication and a platform for contemplation. “Everything At Once” asks: Can we process complex histories through the transformation of objects in order to collectively imagine other ways of being in the world?xx
On September 7th, WANDERLUST: ACTIONS, TRACES, JOURNEYS 1967-2017 opens at University of Buffalo's UB Art Gallery. The exhibition will be on view at the UB Art Galleries from September 7-December 31, 2017 and travel to the Des Moines Art Center in February 2018. The catalogue, published by MIT Press, includes essays by Jane McFadden, Lori Waxman and Rachel Adams. Wanderlust: Actions, Traces, and Journeys 1967-2017 is organized by the University at Buffalo Art Galleries, Buffalo, New York and curated by Rachel Adams, UB Art Galleries Senior Curator.
In June I'll be artist in residence at Monet's Garden in Giverny, France.
April 27, Swale is part of a national campaign "Nature Remix" in a partnership with Strongbow Ciders. Through this partnership, we were able to add 200 new plant varieties to Swale including 8 apple trees, terraform more growing space, and, most importantly, continue Swale's mission of providing free food for anyone to pick from. This partnership also expands our public-facing initiatives of building stewardship throughout New York CIty.<
This year, Swale, along with many community groups, has also made policy-facing strides.The New York City Department of Parks will break ground on its first public food forest on land, creating a precedent that parts ways with a 100-year old law stating that picking food from public land in NYC is considered destruction of property.
April 15, I'm thrilled to be speaking at the University of Pennsylvania as part of the Ecotopian Toolkit Conference, organized by Bethany Wiggin and Environmental Humanities fellow Patricia Kim, among other inspiring people. Headlining this conference are Rebecca Solnit and Laura Raicovich, to name a few!
On November 3rd I'll be completing a residency at the University of Michigan's Institute for the Humanities. Objects Unveiled: Boxing, Rolling, Stretching, and Cutting opens November 9th. I'll also be lecturing as part of the Penny Stamps Lecture Series on November 9th.
On August 26th I'll be at the University of Southern Florida Contemporary Art Museum for a panel discussion and the opening of "Extracted" curated by Megan Voeller, in Tampa, FL
On June 1, Swale will officially become part of the New York City Urban Field Station. The USDA Forest Service and NYC Department of Parks and Recreation engaged in a planning process to bring artists and writers into the fold of the New York City Urban Field Station (UFS). The UFS is both a physical place to conduct research (the research facility at Fort Totten) and a network of scientists, practitioners, university partners, and facilities that focus on urban ecology. Since its founding in 2006, the UFS has engaged over 30 non-profit, academic, and government partners creating “research in action” programs to support urban ecosystem management and sustainability initiatives in New York City.
On April 21, I'll be speaking at the University of Vermont's Department of Art at 5pm. Report
April 15, Make Art Not War opens at MoMA Education! Report
March 23rd, I'll be in Albany, NY for a lecture titled "Co-creative Encounters: Ecosystems, Place, and the Political" Rensselaer Polytechnic Institute, in the School of Humanities, Arts, and Social Sciences.
March 9th, I'll be lecturing at William Paterson University at 2pm, at the Center for New Art.
March 2-7, I'll be in Anchorage working on phase 1 of our Arctic Food Forest at the Anchorage Museum.
In February I'll be working @ MoMA Education offering: Make Art Not War - Transforming Military Materials into Social Spaces: Through design workshops and collaborative projects, participants will reinvent a disused military-grade trailer, turning an object of war into an all-encompassing artistic and social environment. What new space can this object become? Participants are in charge of every step of the process, from budgeting to designing to assembling and more.
On Trauma, Grief and Resilience: A project at the Museum of Modern Art.
How can art ask us to think deeply about resilience, and what it means to be resilient? Which experiences are supposed to be remembered and which are supposed to be forgotten? How can we begin to imagine a nonviolent world when we are rarely allowed to grieve over its violence? Objects can connect us through their histories and the powerful stories they carry with them. When we are able to change their form, it can be monumental. We can add our own voice and that can be healing. In the fall of 2015 I proposed a project to the Museum of Modern Art’s education department. What would it mean to take an object with a violent history and cooperatively transform it? How could a project work, and what shape would it finally take? Most of all, how can we begin to share our experiences and differences through an intergenerational, multiracial, and multinational conversation about pain, and love?
I hoped we could tell a story about changing national priorities – from a war and consumption-centered nation to one that is eager to learn from its own violence and vulnerability. Here’s what I proposed: I would purchase a US military trailer at government auction and the students would be the idea makers, the re-creators. They would architect the redesign, keep the budget, and be the project managers. I would facilitate, question, advise on, and ultimately champion their ideas. A trailer that had been redelivered to the US from Iraq was ours to work with. With seventeen high school students, we began with a series of architectural charrettes. We decided upon a criteria, or guidelines that defined what’s important to us that should be reflected in the project. It was overwhelmingly practical: what we had the budget for, our aesthetic positions, and most of all our concerns about safety. Even with all of us, this two-ton trailer was a force. In the following weeks, we created drawings and maquettes. We started and then later abandoned a series of ideas.
The things we didn’t end up doing: We didn’t turn the military trailer into a park or a garden.
We didn’t turn the military trailer into a mobile kitchen.
We didn’t turn the military trailer into a giant printmaking press.
We didn’t use the tires for tire swings.
We didn’t completely deconstruct the trailer and rebuild it into a sphere.
We didn’t turn the military trailer into an art studio.
We didn’t turn the military trailer on its side and project films on the trailer bed.
We didn’t melt the military trailer down and mold the steel into a sword.
Instead we made it into a social space that’s near impossible to define. It was a small piece of each of those things; it came from different voices and took months of compromise and working together. It came from a process of learning how to use new tools and taking time to teach each other the tools we were already skilled in. The project was not about resilience but instead about revaluing the ability to grieve. From there, it was about transforming an object into a symbol, and then into a space. We looked for a premade form to process some of those emotions collectively, but finally had to create a new one. After all, I wondered, what new potentials might develop if resilience was less valued? Like the faith many have in market expansion, resilience is a temporary fix, and has often been a way to leave the larger questions unanswered and problems unaddressed.
Make Art Not War opens at MoMA Education: Report
February 24, I'll be at Purchase College speaking about my work and meeting with graduate students
February 5, I'll be presenting at CAA for a panel moderated by Carissa Carman and Natalie Campbell, "MetaMentors: Creative Outsourcing/Partnerships: Making Big Projects Come True"
January 26th, I'll be at Light Work in Syracuse NY for the opening of Mass and Obstruction, lecturing at 7pm and speaking with Edward Morris and Susannah Sayler's class earlier in the day.
January 13th, the Tangible Utopias panel will take place at the 8th Floor. I'll moderate a conversation between Lex Brown, Dylan Gauthier, and Sasha Chavchavadze; organized by Joelle Te Paske.
This semester I'll be teaching a course at Rutgers designed by Elizabeth Demaray, Art and Urban Sustainability.
On November 19th at 6pm, I'll be at Pratt Institute to host a conversation about speculative futures.
On November 5th at noon, I'll present my work at Rutgers Camden.
"Access to Tools" with Triple Canopy went live today. It's here:
On November 4th at 7pm, I'll present my work at Parsons School of Design, open to the public.
On October 27th, I'll be part of a roundtable discussion at the University of Pennsylvania for PPEH's "Performance, Politics and Climate Change Symposium" with Dr. Bethany Wiggin, Sarah Sanford, Sarah Ann Standing, Professor Marcia Ferguson, and Quinn Bauriedel.
In Late September I'll be in Toronto launching Torus as part of Nuit Blanche curated by Christine Shaw "The Work of the Wind". Join us for a workshop that asks: In an era of schizophrenia, can art still bring us closer towards embodying the world we want? Extractive production and excessive consumption have become as violent as military activity. In this workshop we will extract consumption, gift in excess, and discuss ways that art, performance, and ritual can make spaces for mourning environmental loss. Through dialogue, diagramming, making and sharing rituals, we will task ourselves with re-mapping systems of the post-industrial/higher education/military complex, and draft steps towards forming the spaces we want to inhabit. We will spend time assembling a meditative space for a performance on the water that will take place during Nuit Blanche. During our time together we will continually question the following: Can we create more mindful rituals that point towards change? Could we spend more time discussing change with the choir? In an era of schizophrenia, can art still bring us closer towards embodying the world we want?
This fall I'll be an Assistant Professor of Sculpture at Pratt Institute's MFA program.
August 18th, I'll be at Slought Foundation in Philadelphia for a public discussion about the Schuylkill River.
July 28th, "Access to Tools" with Triple Canopy goes live HERE. I'll be in the studio but working online.
In July and August I'll be in New York working towards Swale.
From July 14 - 20th I'll be in Rushville, NE participating in the Sandhills Institute led by Mel Ziegler.
In Late May/Early June I will be in Des Moines creating "Wading Bridge". Des Moines Register.
Wading Bridge, Raccoon River, Des Moines | Pull, Havana
This May I will participate in an initiative with the Bronx Museum of the Arts and the Museo Nacional de Bellas Artes de La Habana as part of the 12th annual Havana Biennial with a collaborative sculpture called "Pull". New York Times | NPR | Artnet | China Post | LA Times - Download the PDF for Pull - Here.
On April 18th I'll participate in a panel at AIPAD organized by Wesley Miller. On April 17th, I will speak with Brainard Carey at "Interviews from Yale University Radio WYBCX" April 15th the Philadelphia Sculptors Guild is hosting a panel I'll participate in with Carrie Brown, Lucy Begg, and Nicole Kistler. On April 14th I'll participate in a panel on Art for Social Change through the Democracy Alliance alongside Brett Cook, Favianna Rodriguez, and Tracy Van Slyke. On April 13th I'll speak at Rutgers University with Elizabeth Demaray.
This year, along Sol Aramendi, Laura Chipley, Steve Ciampaglia & Kerry Richardson, Suzanne Lacy, Nigel Poor, Dread Scott, and Adaku Utah, I will be a fellow at "A Blade of Grass" undertaking a project called Swale.
In mid March: I'm in Havana building an ecosystem for Pull.
On February 21st I'll participate in Creative Chemistries: Radical Practices for Art and Education with Art21, organized by Jess Hamlin, at the Park Avenue Armory in New York.
"WetLand: Inhabiting the Edge" opens at the Schuylkill Center for Environmental Education on Wednesday, January 28th. Alongside Bethany Wiggin, Mary Salvante, and Maya van Rossum, I'll talk about the project for the SCEE's On the Edge: Environmental Art for a Changing Planet: The Fourth Annual Richard L. James Lecture.
On January 27th, "Consumed" opens. University Art Museum at the University of California Long Beach.
On January 22 Collective Actions opens at SECCA in Winston-Salem, North Carolina. Collective Actions is curated by Cora Fisher. On January 30th I'll begin a five day workshop as part of Collective Actions. NY1
This semester I'll teach at Cooper Union, with a class titled: Place and Identity: Politics, Ethics, and Aesthetics.
In mid-January I will be an artist-in-residence at Cannonball (formerly LegalArt). On January 21st Stan Cox, lead scientist at the Land Institute will talk with me in an open forum at Cannonball.
In November Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologieswill be released. This book is edited by Heather Davis & Etienne Turpin.
November 9 - I'll be in Tbilisi, Republic of Georgia for Artisterium curated by Magda Guruli and Lydia Matthews.
November 1 - 29th, I will be at Lightwork to participate as an Artist-in-Residence and complete a book.
From October 6 -12th I'll be in Alaska attending "Week of the Arctic" a conference that is the basis of a longer-term collaboration with the Anchorage Museum.
On October 5th, I'll have new work in Mediations at the San Diego Art Institute, curated by Ginger Shulick Porcella and Denise Carvalho.
On September 15th, my work will be in FALSEWORK at Blackwood Gallery curated by Christine Shaw with artists Adrian Blackwell, Abbas Akhavan, Cedric Bomford, Cyprien Gaillard, Dylan Miner, Postcommodity, Laurel Ptak, Charles Stankievech and Allora & Calzadilla.
August - September, WetLand launches in Philadelphia with FringeArts, the Knight Foundation, the Seaport Museum, DRWC, PWD, Skidmutro, the city of Philadelphia and others. The New York Times | The Philadelphia Inquirer | Philadelphia Weekly | Philly Mag | Philly.com | Philadelphia City Paper | Art in America.
On July 11th I'll be speaking with the Art21 Summer Education Institute
On June 29th I'll be on a panel with Nick Ravich, Jacolby Satterwhite, Melissa Levin, and Bryan Zanisnik about Art21's New York Close Up series with LMCC and the River to River Festival.
June 24th I'll be at New York Arts Practicum.
June 11 & 12 - I'm hosting a workshop "From Useful to Useless: Transforming Stuff" organized with the Curatorial Studies program of the Whitney Museum of American Art Independent Study Program, the Education Department of the Whitney Museum of American Art, and Hudson Guild for Common Spaces.
May 31 - June 29th CAFKA Biennial Toronto/Kitchener with June 14, an all-day participatory performance.
May 7 - With Brian Zegeer and Katayoun Vizari for their radio show I Ran into Iran - Episode 9 Divorcing the Ruin
April 4 - 6 - I'm in Buffalo, NY speaking at Performing Economies, a colloquium led by Stephanie Rothenberg and Paige Sarlin with Sarah Bey-Cheng. Other speakers include philosopher Silvia Federici and artist Renee Ridgway. In the news: Artvoice | Buffalo News 1 | Buffalo News 2
March 27 - 31st, I'll be visiting Cannonball (formerly Legal Art) in Miami to explore sites for a future project.
March 24 - I'll be in North Caroline giving a lecture at UNC-Pembroke with Greg Lindquist and UNC-Greensboro.
This March I'm participating in Thirst with Proteus Gowanus and Lydia Matthews. Download a PDF of Food and Water Networks HERE
January 26 - 31st, I'll be the resident artist at the University of Illinois Allen Hall
January 24, 6-8pm: Opening of Distant Images Local Positions at the Elizabeth Foundation for the Arts with Haseeb Ahmed and Daniel Baird, Hasan Elahi, Annie Laurie Erickson, Regina Mamou, Trevor Paglen, Travis LeRoy Southworth, and Scott Patrick Wiener. | New York Art Beat | Afterimage
January 2014 - December 2014 I'll start a research fellowship at viralnet.net, a project led by the Center for Integrated Media at CalArts
December 17, 6pm: Lonny Grafman's Engineering 215 class. They have completed their projects for WetLand. Look at Appropedia for open source project plans
December 6 @ 1pm on Bad At Sports from Pulse Miami
December 5, 4pm: Panel with Brolab moderated by Terence Riley at Untitled Art Fair, Miami: Pooneh Maghazehe, Meyken Barreto, and Ghost of a Dream
November 11, 6-8pm: Artist Lecture at Emerging Practices, University of Buffalo
October 1, 6pm: Panel at A Blade of Grass, The Active Partnership: Artists, Communities, Funders & Institutions, with Sergio Bessa, Marie Canela, and Bill Adair
September 6, 6pm: House and Universe opens at Robert Mann Gallery, New York, NY. See it in the news: Artforum | ArtNews | Art in America 1 - 2 - 3 | New York Times | New Yorker | Interview Magazine | Hyperallergic | Artslant | Artsy | Art-Rated | Brooklyn Rail |
September 5: Artist Lecture at St. John's University, Long Island, NY
August 20, 5-7pm: Hacking MoMA Teens Opening @ MoMA Education
July 20, Art21 New York Close Up launched: Mary Mattingly Owns Up
July 20 @ Pier 42: Triple Island launches with Community Day
June 21, 2pm: Artist Lecture @ New York Arts Practicum, Brooklyn, NY
June 1: Artist Lecture @ MoMA PS1 with Speculations - Triple Canopy, Queens, NY
June 1 - February 2014: I'm working out of a LMCC Process Space on Wall Street.
May 29, 6pm: @ Philadelphia Museum of Art for The James L. Knight Foundation Grant
May 5, 2pm: Workshop culmination and lecture @ Queens Museum of Art with Art Utile, Queens, NY
Artist Lecture with Xaviera Simmons @ supporters of The Bronx Museum of the Arts, New York, NY
On View from March 29 – April 27, opening March 29 @ 6pm: Process and Progress: Mary Mattingly and Michael Cataldi at the Bronx River Art Center, 305 E. 140th Street, #1A, Bronx, NY 10454
January 30, 5-7pm: Opening @ Rowan University, "Common Interests" curated by Sara Reisman
November 9, 5pm: Opening of Broken Desert: Land and Sea and panel discussion with Greg Lindquist and Chris McGinnis, University of Arizona Museum of Art, Tucson, AZ
October 20, 6pm: Homecoming Artist Lecture @ Pacific Northwest College of Art, Portland, OR
September 29, 3pm: Artist Lecture @ 98B, Manila, The Philippines, Manila, The Philippines
SmartPower - Manila, The Philippines September 20, 3pm: Artist Lecture @ University of the Philippines, Manila, The Philippines
September 15 - October 31: smARTpower Artist Ambassador to the Philippines with the Bronx Museum of the Arts and the US Department of State, Workshop: Wearable Portable Archtiecture
August 10, 6-8pm: Artist Lecture @ The Bronx Museum of the Arts, with Glendalys Medina
July 3, 2pm: Artist Lecture @ The Queens Museum of Art, with Christopher Robbins
April 20, 7-8pm: Resilience and Resistance: Few Possible Futures for Living with Water, Artist Lecture @ Bennington College, with Taeyoon Choi, Bennington, VT
March 1, 6-8pm: Panel @ Eyebeam Center for Art and Technology with Geoff Manaugh, New York, NY
October 26, 6:30-8:30: Panel with Amy Balkin, Adriane Colbur and Lydia Matthews @ The New School, UNFOLD, A Cultural Response to Climate Change, New York, NY
October 6, 12pm: Artist Lecture @ Columbia College, Chicago, IL
September 20, 6pm: Artist Lecture @ CalArts, CA
September 6, 12pm, 6pm: Artist Lecture and workshop @ deCordova Sculpture Park, Lincoln, MA
August 2, 11am: Keynote speaker @ WINTEC, SPARK, International Festival of Media, Arts, and Design, Hamilton, New Zealand
July 29, 6pm: Artist Lecture @ Yale University School of Art, Norfolk, CT
June 1, 6:30-8:30: Artist Lecture with George Trakas @ NYC Department of Environmental Conservation, Brooklyn, NY
May 16: Artist Lecture @ Brandeis University, Boston, MA
March 30, 6pm: Keynote speaker @ Big Ideas in Art & Culture Lecture Series, with Contemporary Art Forum Kitchener and Area, CANADA, Workshop on Asset Mapping and Informal Economies, Workshop on Wearable Portable Architecture
September 10, 6pm: Artist Lecture @ DePaul University Museum, Chicago, IL
May 10, 2pm: Artist Lecture @ M.I.T. Senseable Cities Lab, Cambridge, MA
March 5, 1:30pm: Artist Lecture @ University of North Texas, Fluid Frontier Symposium
February 11, 5pm: Artist Lecture @ New School University, New York, NY
October 10, 1pm: Artist Lecture @ Museum of Modern Art Education, New York, NY
September 29, 6pm: Artist Lecture @ Syracuse University, Syracuse, NY
May 14, 5pm: Artist Lecture @ New York University, New York, NY
November 10, 6pm: Artist Lecture @ Vancouver CAC, Vancouver, Canada
October 5, 12 noon: Artist Lecture @ Cornell University, New York, NY