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Conference

ABOUT CABC The ninth annual Contemporary Artists’ Books Conference (CABC) presents two full days of lively debate on emerging practices and issues within art-book culture. This year’s conference will feature a keynote address by Martha Wilson, performance artist and founding director of Franklin Furnace.

Additional conference sessions will include panel discussions on such topics as performance and language, photobooks, digital screens, architecture and editing, and the ways we read location.

Admission is free for all sessions, but space is limited. General admission is first-come-first-seated. Sessions are held in the lower level auditorium.

The Conference is organized by the CABC Committee, a national group of art library professionals.

CABC COMMITTEE 
Stephen Bury, Frick Art Reference Library
Matthew Carson, International Center for Photography Library
Deirdre Donohue, International Center for Photography Library
Milan Hughston, Museum of Modern Art Library
Deirdre Lawrence, Brooklyn Museum Library
James Mitchell
Lindsey Reynolds, Birmingham Museum of Art
Sara Rubinow, New York Public Library
David Senior, Museum of Modern Art Library
Susan E. Thomas, Long Island University Brooklyn Library
Jennifer Tobias, Museum of Modern Art Library
Tony White, Thomas J. Watson Library, The Metropolitan Museum of Art 

EDITIONS TO BENEFIT THE CABCFor the past several years the Conference has commissioned a new artists’ book as part of its program. Previously commissioned artists include James Hoff, Eve Fowler, Dexter Sinister, David Horvitz, Triin Tamm, and Emily Roysdon, and Adventures, produced by Aaron Flint Jamison. The series was edited by David Senior. Sales of the books help to support free admission to the Contemporary Artists’ Books Conference for all visitors.

For more information, call (212) 925-0325.


Sessions

FRIDAY SEPTEMBER 16

1:30-3:00PM

Paper Exhibitions

This session explores the relationship between publishing and curating, where artists’ books and printed matter are considered as portable exhibitions in their own right. The book will also be considered as an axis of innumerable relationships that are concretized through the publication and that are also informed by or inform curatorial practice and exhibitions of artists works in physical space. The tensions between books and exhibitions will be discussed as will issues of materiality, scale, distribution and audience. Panelists include Sadia Shirazi (moderator), Francesc Ruiz Abad, Alexis Bhagat, and Sharmini Pereira. Organized by Lindsey Reynolds.

 

3:30–5:00PM

Performance, Photography & Photobooks

The intertwining of performance and the photographic image has existed since the earliest days of the medium. This session explores notions of the contemporary photo performance and photo performers in relation to the otherwise solitary practices of photobook artists and the social needs absent from the virtual world: physical presence and a communal moment. Find out through expert guidance what photo performance projects have been happening over the last few years. This session will also be examining recent history of performance from the 1960s and 1970s and a time when the camera became a component of conceptual and avant-garde practices which would otherwise leave no trace. Panelists include Bruno Ceschel (Self-Publish, Be Happy), Barbara Moore (The Peter Moore Archive), and Ivan Vartannian (GOLIGA). Organized by Matthew Carson (International Center for Photography).

 

5:30–6:30PM

Show & Tell

In this year’s lightning round, we will host an open call to book fair attendees to present one book of your choosing in no more than four minutes. A video overhead projector will be used so that the books can
be presented directly and spontaneously. Tell us what you found; show us what you think.

 

SATURDAY SEPTEMBER 17

11:30AM–1:00PM 

Performing Language: A lecture, a talk, and a live reading on and around the photo-mechanical image

Extensively (and often wittingly) illustrated with still and moving images, this session will gather three artists-writers who will perform discursive art pieces, revisiting the formats of the conference and literary reading to creatively and critically investigate the relationship between text and image. In order of appearance, Jenny Perlin with her lecture Twilight Arc (2015) will discuss the history of the color organ and how it has influenced contemporary cinema and her own filmic practice. In a performance based on his essay Matter of Rothko (2011), David Levine will address the personal and artistic consequences of his father’s involvement with the Rothko Estate scandal. Marcelline Delbecq will present Vies Immobiles (2013), a live reading accompanied by a slide show of an imaginary book of illustrations exploring the arrested existence of animals in various still lives. The event will be moderated by curator and writer Béatrice Gross.

 

1:30–3:00PM

Spaces of Information
This panel will examine the intersections of art, architecture and editorial design. It will focus on the ways in which environment, architecture and expanded publishing dissolve disciplinary boundaries and the activities of production, spectatorship and reception. The panelists will explore how conceptual art created an escape from media specificity; the programming and publishing strategies developed by the Focal Point Gallery; the architecture of memory and esoteric classification schemes. Panelists include Dr. Ruth Blacksell (moderator), Karen Di Franco, and Dr. Andrew Hunt.

 

3:30–5:00 PM 

Furthering the Critical Dialogue

This session will focus on the state of criticism in relation to artists’ books and independent publishing. Exemplifying diverse approaches to the practice of criticism, rather than speculate on the state of criticism per se. The panelists will discuss and evaluate two books by Ed Ruscha: Twenty Six Gasoline Stations and Every Building on the Sunset Strip. Chaired by Tony White, participants include: Russet Lederman, Ian McDermott, and Anne Thurman-Jajes.


5:30–7:00PM

Printed Page in the Digital Age

This session examines the relationship between the printed page and the digital screen in contemporary art. Despite prevailing claims to the contrary, print continues to flourish. In addition to this, digital and print media are looking to each other for influence, resulting in new modes of expression and critical interrogation that take into account hybrid platforms and habits of media consumption. Artists working with the internet, photography, and video are referencing the space of the book, specifically the printed page, in their works, just as artists’ publishing and working with printed books are re-conceptualizing the book space to reference screen-culture and digital modes of reading. This session will explore the activity of reading and the ways in which shifting intermedia relations demonstrate a new mode of reading and engagement with the page in the digital age. Presenters include Leslie Hewitt, Megan N. Liberty, and Paul Soulellis.

 

7:30–8:45PM 

Keynote: Martha Wilson,  performance artist and founding director of Franklin Furnace

Martha Wilson will present the founding of Franklin Furnace Archive, Inc., which gathered the largest collection in the United States of artists’ books published internationally after 1960; this collection was acquired by MoMA in 1993.  As in 1976 Printed Matter was also being founded by a collective of artists and activists, she will touch on the close relationship between the organizations; as well as discuss how their complementary programs were sorted out 40 years ago.  Wilson’s lecture will cover the first four years of Franklin Furnace’s life. There is a MoMA Library exhibition, “Back in Time with Time-Based Works: Artists’ Books at Franklin Furnace, 1976–1980,” which complements Martha’s talk, on view in the Cullman Education and Research Building at MoMA (4 West 54th Street).


Participants

 

Francesc Ruiz Abad (b.1990, Palamós) lives and works between New York City and Calonge, Spain. A curious traveler, his work spans a wide range of mediums. He synthesizes his daily experiences with image making to create an expansive approach to drawing and painting. He holds a Bachelor in Fine Arts degree from The University of Barcelona and he was a guest student at the Hochschule für Grafik und Buchkunst, Leipzig. His solo shows include I Didn’t Know I Was Collecting, Arranz-Bravo Foundation; DINGSBUMS: Coses que brillen quan cauen, El Passadís; Elefants, sabates i paper, L’Indiscret/Heliogàbal and Jeder kann zeichnen, Theatre Impermanent. He has participated in various group shows including El Temps Invertit, CC Can Felipa; Yo, misil. Centre Artístic Sant Lluc and Zeichnung Protests, GfZK. He is the author of several publications and director of the nomadic curatorial project La Ghetto. He recently received a grant from the Guasch Coranty Foundation, Sala d’Art Jove, Felicia Fuster Foundation and Arranz-Bravo Foundation. His works and publications are included in the collections of MACBA Library, Universitat de Barcelona, Birmingham Museum of Art Library, Guasch Coranty Foundation and Bòlit Contemporary Art Museum Library.

 

Alexis Bhagat never does anything alone and always works in collaboration. He is co-founder, with Lauren Rosati, of ((audience)), an organization dedicated to the advancement of sound art. He was co-editor, with Lize Mogel, of “An Atlas of Radical Cartography”, a collection of 10 maps and 10 essays which travelled the world as an exhibition and ongoing series of discussions. Currently, he is the director of Grand Street Community Arts, an arts center in Albany, NY, where he rings the old church bell most every day at noon.

 

Dr. Ruth Blacksell is based in London. She is Director of the Book Design MA in the Department of Typography & Graphic Communication at the University of Reading; and Research Fellow in the Faculty of Art, Design & Architecture at the University of Kingston. Her research falls into two connected areas: the use of typography, acts of reading and contexts of publishing in practices of 1960s/70s’ Conceptual Art; and contemporary publishing practices and evolving interdisciplinary territories in contemporary art, architecture and design.

 

Matthew Carson is a Librarian and Archivist at the International Center of Photography in New York. He is a co-founder of the 10×10 photobook organization. In 2013 he was a curator of the book component of the ICP Triennial: A Different Kind of Order. In 2015 he was one of the organizers of Shashin, a Japanese photography symposium and festival held in New York. He is a photography enthusiast, writer and bibliomaniac. In 2016 10×10 photobooks is launching the CLAP! Project – Contemporary Latin American Photobooks with a series of pop-up exhibitions and a publication.

 

Bruno Ceschel is a writer, publisher and lecturer at the Camberwell College of Arts—University of the Arts London and École cantonale d’art de Lausanne. He is the founder of Self Publish, Be Happy, an organisation that collects, studies, and celebrates self-published photobooks through an ongoing program of workshops, live events, and off/online projects. Self Publish, Be Happy has organised events at a number of institutions around the world, including Tate Modern, The Photographer’s Gallery, Serpentine Galleries, C/O Berlin, Aperture Foundation and Kunsthal Charlottenborg amongst others. Ceschel is also the Director of SPBH Editions, which has most recently published books by Matthew Connors, Lucas Blalock, Mariah Robertson, Gareth McConnell and Lorenzo Vitturi. Ceschel writes regularly for a number of publications such as FOAM, The British Journal of Photography and Aperture Magazine and has guest-edited issues of Photography and Culture and The PhotoBook Review. His new book Self Publish, Be Happy: A DIY Photobook Manual and Manifesto has just been published by Aperture Foundation.

 

Marcelline Delbecq is an artist and writer based in Paris. After studying photography in the United States and fine arts in France, she progressively distanced herself from the practice of image-making to focus on the cinematic and photographic potential of writing, presented mostly through printed matter and live reading. Her work has been shown and performed internationally: Palais de Tokyo, Fondation Cartier, Musée de la Chasse et de la Nature, Centre Pompidou, Centre Pompidou-Metz in France; Fri Art and Mamco in Switzerland; Beirut Art Center; Mudam in Luxembourg; Art in General, and School of Visual Arts in New York; The Moore Space in Miami; and Kadist Foundation in San Francisco. She has published numerous artist’s books: Un battement de cils (Centre Pompidou-Metz, 2009) ; Pareidolie (Mix, 2011) ; Landscapes/Blackout with photographs by Marina Gadonneix (RVB Books, 2011); West I-VIIII (Le Gac Press, 2013); Silence trompeur (Manuella Editions, 2015) ; Camera (Manucius, 2015) ; Oublier, voir (Fondation Cartier and Manuella Editions, 2015). Delbecq is also a regular contributor to Trafic, the legendary quarterly founded by cinema critic Serges Daney. Her latest text for the 100th issue of Trafic was inspired by Susan Howes’ Sorting Facts: Nineteen Ways of Looking at Chris Marker (New Directions Poetry Pamphlets, 2013). Delbecq is currently working on her first film-essay based on still photographs. She is also teaching at The Landscape Architecture School in Versailles and Paris College of Art.

 

Karen Di Franco works as an archivist, a curator, and is currently a PhD candidate with Tate Britain and the University of Reading, researching forms, strategies and contexts within artists’ publishing. Recent projects include the exhibitions The sun went in, the fire went out: landscapes in film, performance and text, CHELSEA space (co-curated with Elisa Kay, 2016), Carlyle Reedy: Icons of a Process, Flat Time House (2014) and the development of the Book Works online archive and publication Again, A Time Machine (2010-12). She writes and presents research regularly at conferences for organisations such as Tate, the Whitechapel Gallery, the National Media Museum, the Association of Art Historians, and others. She has contributed essays for ARLIS the Art Libraries Journal, National Irish Visual Arts Library and E.R.O.S the Eros Press Journal. With Ami Clarke she co-organises the ‘New Materialism’ reading group at Banner Repeater, London and is currently involved in the research project ‘The Disembodied Voice’.

 

Béatrice Gross is an independent curator and arts writer based in New York and Paris. She is also currently Editorial and Curatorial Advisor at Mémoire Universelle (Brussels), a cross-disciplinary book series functioning as a subjective encyclopedia. Gross has recently co-curated Drawing Dialogues: Selections from the Sol LeWitt Collection at The Drawing Center (New York, 2016); and curated Double Eye Poke. Lynda Benglis, Dan Flavin, Sol LeWitt, Bruce Nauman at kamel mennour (Paris, 2015). Gross has also organized Europe’s largest retrospective of Sol LeWitt wall drawings, as Adjunct Curator at Centre Pompidou-Metz (France, 2012-2013), and Guest Co-Curator at M-Museum Leuven (Belgium, 2012). She also curated an exhition of the LeWitt Collection at Centre Pompidou-Metz, which traveled to Museo d’Arte Contemporanea Donnaregina (Naples, Italy). Recently, Gross has also co-edited the exhibition catalogue Accrochage (Pinault Collection, Punta della Dogana, Venice, 2016). She has served between 2013 and 2015 as Editor and Director of Research of the Sol LeWitt Wall Drawings Catalogue Raisonné (Artifex Press, New York). She is the Editor of Sol LeWitt’s extensive monographic book published by Centre Pompidou-Metz Editions (2012). Her latest publications include: “Off Frame. Counter-Frame” in Marina Gadonneix. After the Image (Paris: RVB Books, 2015); “The Invisible Man. From Skepticism to Paranoia: A Brief Survey of Predators, Photography, and the Birth of Modern Camouflage,” in Mémoire Universelle, vol. II “Manimalisme” (Brussels: MU, 2014); “From Icon to Text and Back Again: Ines Lechleitner’s Metamorphoses,” in Ines Lechleitner. The Imagines (Berlin: Sternberg Press, 2014); “Sol LeWitt and the (Re-)Birth of Wall Drawing,” in Auf Zeit/For the Time Being (Staatliche Kunsthalle Baden-Baden/Kunsthalle Bielefeld/Verlag der Buchhandlung Walther König, 2013).

 

Leslie Hewitt lives and works in New York City. She has held residencies at the Skowhegan School of Painting and Sculpture, the Studio Museum in Harlem, the Museum of Fine Arts, Houston, Radcliffe Institute for Advanced Study at Harvard University, and the American Academy in Berlin, Germany among others. A solo exhibition of her work, Leslie Hewitt: Collective Stance, was recently on view at Sculpture Center in Long Island City after premiering at The Power Plant Contemporary Art Gallery in Toronto. She participated in the contemporary photography survey exhibition Photo-Poetics: An Anthology at the Solomon R. Guggenheim Museum in New York. Her work is in the public collection at the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Los Angeles County Museum of Art; San Francisco Museum of Modern Art; The Menil Collection, Houston; and the Walker Art Center, Minneapolis.

 

Dr. Andrew Hunt is a curator and writer based in London. He is currently a Research Fellow in the Faculty of Art, Design & Architecture at the University of Kingston. Between 2008 and 2014 he was Director of Focal Point Gallery in Southend-on-Sea, Essex. Between 2005 and 2008 he was Director/Curator of the International Project Space, Birmingham, and in 2012 a member of the Turner Prize jury in the UK. He is founder of the Slimvolume imprint, which to date has published editions and books by over 250 artists. He is author of numerous catalogue essays, and contributes to journals such as Art Monthly, Domus, Frieze, Mousse Magazine and TATE ETC.

 

Russet Lederman is a writer, media artist and photobook collector who lives in New York City. She teaches art writing at the School of Visual Arts in New York and writes on photobooks for Foam, The Eyes, IMA, Aperture and the International Center of Photography’s library. She is a co-founder of the 10×10 Photobooks project, lectures internationally on photobooks, and has received awards and grants from Prix Ars Electronica and the Smithsonian American Art Museum.

David Levine‘s artwork explores the relationship of privacy, performance, and language across multiple disciplines. His performance pieces have been commissioned by Creative Time, Mass MoCA, REDCAT and New York’s Crossing the Line festival, and his video and photographic work has been exhibited internationally at the Townhouse Gallery (Cairo), Gallery TPW (Toronto), the Museu Colecao Berardo (Lisbon), as well as Untitled (NY), Blum and Poe (LA), and Tanya Leighton Gallery (Berlin). His writings have appeared in Triple CanopyParkettMousseMémoire Universelle and Cabinet. A new essay on Alan Pakula’s 1975 film The Parallax View will be published in Bard CCS/Luma Foundation’s The Flood of Rights, and “International Art English,” his collaboration with sociologist Alix Rule for Triple Canopy, was recently reprinted in Mass Effect: Art and the Internet in the 21st Century (MIT Press/New Museum of Contemporary Art, NY). The essay “Matter of Rothko” was also commissioned and published by Triple Canopy in 2011. Levine is the recipient of numerous grants and awards, including the Foundation for Contemporary Arts Grant (2016), the Village Voice OBIE award (2013), the Radcliffe Fellowship (2012), and the German Federal Cultural Foundation (2007), and 2015 was invited to lecture on the work of Bruce Nauman for the Dia Foundation’s Artists on Artists lecture series. From 2004 to 2015 he was Director of Practicing Arts at Bard College Berlin, and he is currently Professor of the Practice of Performance, Theater, and Media at Harvard University.

 

Megan N. Liberty is a writer based in Brooklyn. She is especially interested in artists’ books and ephemera in the digital age, archives and curatorial practices, and other intersections of text and image. Her writing appears in Afterimage, Art in Print, The Brooklyn Rail, and Hyperallergic, among others. She has an MA in Art History from the Courtauld Institute of Art, London.

 

Ian McDermott is an Instruction Librarian at LaGuardia Community College, City University of New York, in Queens. Previous to this, he was Collection Development Manager at Artstor, and an art librarian at the Yale Arts Library and Yale Center for British Art. He has presented on Ruscha’s artist’s books and has a passion for Digital Humanities in the arts.

 

Barbara Moore is an independent scholar of late 20th-century avant-garde art such as artists’ books and performance. She was the first editor at Dick Higgins’s legendary Something Else Press, was for many years a rare book dealer specializing in printed manifestations of alternative mediums, and has written and lectured extensively on these subjects. For 55 years she has also been the Administrative Director of the archive of photographer Peter Moore (1932 – 1993), which contains several hundred thousand of his images plus related documents chronicling the development of what came to be known as Performance Art, including Fluxus, Happenings, Judson Dance Theater, multimedia, and intermedia. She is currently writing a memoir and visual history of performance in the 1960s and ‘70s as experienced in the Moores’ joint discovery of these seminal events.

 

Sharmini Pereira is the founder and Director of Raking Leaves and the Sri Lanka Archive of Contemporary Art, Architecure and Design She was Guest Curator at the Aga Khan Museum (2014) and for the Abraaj Capital Art Prize (2010) and co-curated the first Singapore Biennale in 2006. Her writing has appeared in South East of Now, Mousse Magazine, Guggenheim online, Art Asia Pacific, Groundviews and Imprint amongst others. She is a judge for the forthcoming 2017 Geoffrey Bawa Award for Architecture and lives and works in Sri Lanka and New York.

 

Jenny Perlin makes films, videos, installations, and drawings. Her projects draw on interdisciplinary research interests in history, cultural studies, literature and linguistics. Her films incorporate innovative techniques to investigate history as it relates to the present. Perlin shoots 16mm film and digital video and combines live-action, staged, and documentary images with hand-drawn, text-based animation. Her films have been shown as single-channel works and multi-channel installations at numerous venues including the Guggenheim Museum, (2011), Mass MoCA (2011), MoMA, (2007), Guangzhou Triennial (2008), IFC Center (2008), Berlin and Rotterdam film festivals (2003-2007) the Drawing Center (2001 and 2008), and The Kitchen, NY (2006). Support has come from the LEF Foundation, NYSCA, Experimental Television Center, CEC Artslink, American Center, Geneva, and the Arnold Foundation. Artist residencies include IASPIS Sweden, Wexner Center, Civitella Ranieri, ISCP, and commissions from Bard College CCS, Aldrich Museum, BAC Geneva, The Queens Museum, and Expo 02, Switzerland. She received her BA from Brown University in Literature and Society (Modern Culture and Media), her MFA from the School of the Art Institute of Chicago in Film, and completed postgraduate studies at the Whitney Independent Study Program in New York. Perlin’s work is in public collections including MoMA, Seattle Art Museum, the Five Colleges, MA, the School of the Art Institute of Chicago and numerous private collections. Galleries Annet Gelink and M+R Fricke represent her work in Amsterdam and Berlin. She is currently teaching at the University of Pennsylvania, the Cooper Union, and The New School in New York.

 

Sadia Shirazi is an architect, curator, and writer based in New York. She is engaged in a transdisciplinary practice that explores the relationship of art and architecture to sociopolitical issues, spatial imaginaries, and technologies of display. Her recent curatorial projects include welcome to what we took from is the state (Queens Museum, New York, 2016) and 230 MB / Exhibition Without Objects (EwO) (Khoj International Artists’ Association, New Delhi, 2013). Shirazi holds an MArch from Massachusetts Institute of Technology (MIT) and is a Whitney Museum Independent Study Program alumnus. She teaches at The New School and is a PhD candidate in the Department of History of Art and Visual Studies at Cornell University.

 

Paul Soulellis is an American graphic designer, artist, publisher and teacher. He works in New York City and Providence, RI. His writings and work in the field of experimental publishing and network culture are cited in influential scholarly research, and his publications are collected and exhibited worldwide and on the internet. Soulellis is the founder of Library of the Printed Web, a physical archive devoted to web-to-print artists’ books, zines and other printout matter. He curates, designs and publishes print-on-demand publications that have featured the work of over 180 contemporary artists. Soulellis also maintains his own artist’s practice centered on independent publishing. His work is widely held in special artists’ books collections at art and research institutions, including the Museum of Modern Art, NY. Soulellis is a contributing editor at Rhizome, where he curates The Download.

 

Anne Thurmann-Jajes is director of the Centre for Artists´ Publications at the Weserburg and teaches at the Institute for Science of Art and Art Education at the University of Bremen. She has curated numerous exhibitions as well as authored and edited many catalogues and books, including ‘Manual for Artists’ Publications. Cataloging Rules, Definitions, and Descriptions’ (2010). Her recent curated exhibitions are ‘Ian Hamilton Finlay. Poet and Publisher’, and ‘Marcel Broodthaers. Musée à vendre’.

 

Ivan Vartanian is a writer, curator, and publisher based in Tokyo. Under the Goliga imprint, he has collaborated on and produced many projects in different media and formats—books, exhibitions, installations, performances, photography-based events, and limited editions. He is the co-author of Japanese Photobooks of the 1960s & 70s (Aperture, 2009) and Setting Sun: Writings by Japanese Photographers (Aperture, 2006), ArtWork: Seeing Inside the Creative Process (Chronicle Books, 2011), See/Saw: Connections Between Japanese Art Then & Now (Chronicle Books, 2011), as well as the editor & producer of Egon Schiele: Drawings and Watercolors (Thames & Hudson, 2003). GOLIGA is based in Tokyo, Japan, and has been active since 2000.

 

Tony White is the Florence and Herbert Irving Associate Chief Librarian at the Thomas J. Watson Library, The Metropolitan Museum of Art. He served for six years as the Field Editor for Artist’s Books and Books for Artists for the College Art Associations online reviews journal, and is a founding board member of the College Book Art Association.  He has taught courses on artists’ books at MICA and Pratt Institute.  He also lectures, curates exhibitions and publishes articles on the topics of artists’ books and independent publishing.  Recent articles have appeared in Art Documentation and Book 2.0.

 

Martha Wilson is a pioneering feminist artist and art space director, who over the past four decades created innovative photographic and video works that explore her female subjectivity.  She has been described by New York Times critic Holland Cotter as one of “the half-dozen most important people for art in downtown Manhattan in the 1970s.”  In 1976 she founded Franklin Furnace, an artist-run space that champions the exploration, promotion and preservation of artist books, temporary installation, performance art, as well as online works.  She is represented by P.P.O.W Gallery in New York.

Martha Wilson received an Honorary Doctor of Fine Arts degree from the Nova Scotia College of Art and Design University in 2013.  She has received fellowships for performance art from the National Endowment for the Arts and the New York Foundation for the Arts; Bessie and Obie awards for commitment to artists’ freedom of expression; a Yoko Ono Lennon Courage Award for the Arts; a Richard Massey Foundation-White Box Arts and Humanities Award; a Lifetime Achievement Award from Women’s Caucus for Art; and the Audrey Irmas Award for Curatorial Excellence from the Center for Curatorial Studies, Bard College.