MECA’s Master of Fine Arts in Studio Art program is pleased to announce the 2019 Summer Lecture Series, which brings together a national and international roster of visiting artists, curators, and scholars to participate in the MFA Summer Intensive in Portland Maine. In addition to critiques and studio visits with graduate candidates, visiting artists deliver a talk that is free and open to the public.
Visiting Artist lectures are held in Osher Hall and begin at 5:30pm.
Summer 2019 Visiting Artist Lecture Series
Monday, July 22
Jessi Reaves (b. 1986, Portland, Oregon; lives New York) received her BFA from the Rhode Island School of Design in Providence. Her work has been included in group exhibitions nationally and internationally, in venues including Swiss Institute, New York and A Palazzo Gallery, Brescia, Italy. In 2016, Reaves presented her first solo exhibition with Bridget Donahue, New York. She has also presented solo exhibitions a Herald St, London and was included in the 2017 Whitney Biennial and the 2019 Carnegie International.
Monday, July 29
Painter, Printmaker, Illustration
Born in 1985 in San Antonio, TX, Michael Menchaca received his BFA from Texas State University in 2011, and his MFA from the Rhode Island School of Design in 2015. He has been an Artist-in-Residence at the Skowhegan School of Painting and Sculpture (ME), Vermont Studio Center (VT), The Wassaic Project (NY), and The Studios at MASS MoCA (MA), among others. Solo shows include The Contemporary Austin (TX), The McNay Art Museum (TX), Auburn University (AL), and most recently at The Chrysler Museum of Art (VA). He was a Visual Arts Fellow at the Fine Arts Work Center from 2015 – 2016 in Provincetown, MA, and is a recipient of the 2019 National Association of Latino Arts and Cultures (NALAC) Fund for the Arts Grant. Through 2020, he is co-curating the New York/San Antonio exhibition Xicanx: New Visions with Suzy González. Menchaca lives and works in San Antonio, TX.
Monday, August 5
Photography, Theater, Installation
Sonya Schönberger combines her studies of social anthropology and experimental media design in her artistic practice. In the last eight years she has built up a long-term atrchive for which she conducted private conversations in various countries like Germany and the US with witnesses of the Second World War. With the help of this ‘Archive of Memories’ she examinesthe effects of a nation’s traumas on future generations. The artist consciously and depending on the project uses different media such as photography, theater, film, installation or audio formats.
Jamillah James is the Curator at the Institute of Contemporary Art, Los Angeles (ICA LA). Previously, she was Assistant Curator at the Hammer Museum, Los Angeles, and organized exhibitions and programs for Art + Practice in Leimert Park. In Los Angeles, James has organized the first solo institutional presentations of artists Abigail DeVille, Sarah Cain, Simone Leigh, Alex Da Corte, Njideka Akunyili Crosby, and Charles Gaines. James has held curatorial positions at the Studio Museum in Harlem and Queens Museum, and has independently organized exhibitions, performances, and screenings throughout the US and Canada since 2004. She is currently working on major presentations of B. Wurtz, the artist’s first American survey (2018); Nayland Blake, his first solo museum exhibition in Los Angeles (2019); and solo projects with Rafa Esparza, Maryam Jafri, and Lucas Blalock.
James’s writings have been included in Artforum and the International Review of African American Art, in addition to exhibition catalogues for the ICA LA, the Leslie-Lohman Museum of Gay and Lesbian Art, New York; Hammer Museum, Los Angeles; the Nasher Museum at Duke University, Chapel Hill, N.C.; and the Studio Museum in Harlem, New York, among others. She is an adjunct professor in the Graduate Art Department at Art Center College of Design in Pasadena, and regularly lectures on curating, contemporary art, and professional development for artists at various colleges and institutions across the country.
Monday, July 1
Indigo Arts Alliance Artist-in-Residence
Eneida Sanches began her studies in arts at the Art School of Bahia at the age of six. She studied architecture from 1980 to 1990 and simultaneously along with the course of Fine Arts at the Fine Arts of the Federal University of Bahia, Brazil.
She has research on African and Afro-Brazilian aesthetics since 1990 and studies calcography (prints from etching) at the Museum of Modern Art workshops in Bahia from 1995 to 2000. She exhibits from 1992 to 2000 in Museums and Galleries in Brazil and the United States with tools of liturgical use of the Yoruba candomblé showing works related to the theme of the Transe and expands the language of the prints into objects and installations.
In 2007, she was awarded the XXIV Salon of the Bahia Museum of Modern Art MAM-Ba and took part in the Frie Academie, Den Haag, The Netherlands.
As of 2011, she brings together printing and video-installation through the series Transe – Displacement of Dimensions in a collaborative work with photographer and video maker Tracy Collins (NY).
In 2013 she has his work published in the Magazine of Contemporary Art N / Paradoxa (Bisi Silva) and exhibits installation Transe (video installation) at the Festival Video Brasil 2013 – SP. In 2014 she was selected for a 3-month art residency at NAFASI Artspace in Dar Es Salaam, Tanzania. She was also nominated to the most important prize in the country, PIPA Prize. In 2016 she presents his work at Itau Cultural SP in the collective Diálogos Ausentes curated by Rosana Paulino and Diane Lima.
In 2017 she moved his studio to Sao Paulo where she works and lives. She participates in the Gaia Biennial in Portugal. In 2018, she is part of the PretAtitudes collective exhibition at SESC Ribeirao Preto, curated by Claudinei Silva. She presents her first solo show at Galeria Andrea Rehder, Sao Paulo and has her artwork published in the Contemporary And (C&) Berlin-based magazine.
Monday, July 8
Curator and Author, Founder of Dirty Looks
Based in Los Angeles, Bradford Nordeen is a writer, curator and founder of Dirty Looks. His publications include Check Your Vernacular, Dirty Looks at MoMA, Fever Pitch, and the Dirty Looks Volume series (editor). He has written for Frieze, Art in America, Afterimage, Huffington Post, indieWIRE and Butt Magazine, and received the 2018 Creative Capital / Warhol Foundation Arts Writers Grant for the podcast Analog Tendencies. He was Platinum Programmer for Outfest Los Angeles (2013-2016), and guest curator for inaugural season of public programs at The Broad Museum. He has curated exhibitions and screenings at ONE Gay and Lesbian National Archives, RISD, MoMA, The Kitchen, SFMoMA, The Hammer Museum, and New York Live Arts. He holds a BFA from CalArts and an MA in Contemporary Cinema Cultures from King’s College London.
Monday, July 15
Painter, Printmaker, Sculptor
Charlie Hewitt, a prolific printmaker, painter, and sculptor, lives and works in Portland, Maine. Stylistically rooted in expressionism and surrealism, Hewitt’s art is both playful and serious, a quality he shares with artists Alexander Calder, Joan Miro, Paul Klee, and his mentor Philip Guston. Hewitt’s most important work to date is the Urban Rattle sculpture on the High Line Park in Chelsea, New York. Urban Rattle, located in the courtyard in the back of Ten23, is the only permanent artwork installed along the High Line Park. Charlie Hewitt has since installed large public Urban Rattle sculptures in Lewiston and Portland, Maine.
His imagery is largely influenced from the mill-working communities he grew up around. The energy and culture of these communities and the values of church, family, and work have infused his artwork and are the foundation of his imagery and symbols. Hewitt’s work is represented in numerous collections, including those of The Metropolitan Museum of Art, NY; Whitney Museum of American Art, NY; New York Public Library, NY; Brooklyn Museum, NY; Library of Congress, Washington, DC; and the Portland Museum of Art, ME.
“BOMB Magazine has been publishing conversations between artists of all disciplines since 1981. BOMB’s founders—New York City based artists and writers—created BOMB because they saw a disparity between the way artists talked about their work among themselves and the way critics described it.”
Header Artwork: Michael Menchaca, cropped