After Black Mountain College: Community and Collaboration Symposium


After Black Mountain College: Community and Collaboration Symposium

Fri, Oct 30, 2015 9:00 am-3:00 pm Fenway Center
Symposium Fri, Oct 30, 2015
9:00 am-3:00 pm Fenway Center



Northeastern Center for the Arts presents After Black Mountain College: Community & Collaboration, a one-day symposium that examines the influence of Black Mountain College’s experimental teaching models on contemporary art.

This convening features artists, historians and scholars in four curated conversations organized by Dr. Gloria Sutton, Northeastern University Art + Design and Dr. Jenni Sorkin, UCSB Art History. The symposium has been organized in collaboration with the exhibition Leap Before You Look: Black Mountain College 1933-1957 curated by Helen Molesworth with Ruth Erickson for the Institute of Contemporary Art Boston.

The small, experimental liberal arts college founded in 1933, Black Mountain College has exerted enormous influence on the postwar cultural life of the United States. Influenced by the utopian ideals of the progressive education movement, it placed the arts at the center of liberal arts education and believed that in doing so it could better educate citizens for participation in a democratic society. It was a dynamic crossroads for refugees from Europe and an emerging generation of American artists.

Profoundly interdisciplinary, Black Mountain College offered equal attention to painting, weaving, sculpture, pottery, poetry, music, and dance. Figures such as Anni and Josef Albers, John Cage, Merce Cunningham, Robert Rauschenberg, Elaine and Willem de Kooning, Buckminster Fuller, Ruth Asawa, Robert Motherwell, Gwendolyn and Jacob Knight Lawrence, Charles Olson, and Robert Creeley, among many others, taught and studied at BMC. Teaching at the college combined the craft principles of Germany’s revolutionary Bauhaus school with interdisciplinary inquiry, discussion, and experimentation, forming the template for American art schools.

Symposium Participants: Carrie Lambert-Beatty, Anna Craycroft, Eva Diaz, Bree Edwards, Anne Ellegood, Ruth Erickson, Nathan Felde, Renée Green, Elizabeth Hudson, Amanda Reeser Lawrence, Michael Lobel, Ezra Shales, Jenni Sorkin, Carol A. Stakenas, Gloria Sutton, Sara VanDerBeek, James Voorhies, Gregory H. Williams

Buckminster Fuller’s Architecture class, 1949 Summer Institute, Black Mountain College
Courtesy of Western Regional Archives, State Archives of NC

Partners: Northeastern Art + Design DepartmentInstitute of Contemporary Art Boston



Click on photos for full bios.

Video After Black Mountain College: Community & Collaboration symposium, Northeastern University

Screen Shot 2015-12-01 at 9.15.32 AM

Video part one linked above.


bmc 1

Video part two linked above.


Schedule for the Day

9:00 AM Welcome

Bree Edwards, Director, Northeastern Center for the Arts and Elizabeth Hudson, Dean, Northeastern College of Arts, Media & Design

9:05-10:15AM Lost and Found: Translation, Production and Participation

Black Mountain College’s mid-century model of interdisciplinary artistic practice is an important antecedent for the translation, dissemination, and remediation of art forms from one discipline to another. How did these new forms of cultural production give rise to artists’ collectives, cooperatives, and models of collaborative work as distinct from studio-driven art making?


Anne Ellegood, Senior Curator, Hammer Museum, UCLA Sara VanDerBeek, Artist
Gloria Sutton, Assistant Professor, Contemporary Art History and New Media, Northeastern University

10:15 – 11:30AM Experiential Art and the Performance of Life
Black Mountain College was a key site for the first American interdisciplinary artistic practices that combined visual art, dance, music, choreography, performance, film and theater. While John Cage’s Theatre Piece #1 (1952), widely considered the first avant-garde Happening, is the best known, it is less well known that students initiated and ran the Light Sound Movement Workshop from 1949-1951. What is the legacy of experience, hierarchy and student teacher relations in artmaking? What are the conditions in contemporary practice that defy, define or encapsulate the difficult nature of collaboration between artists and their communities? How do ephemeral or durational practices in performance complicate the nature of legacy?

Ruth Erickson, Assistant Curator, Institute of Contemporary Art, Boston
Carol A. Stakenas, Interim Director, Grossman Gallery, SMFA
James Voorhies, John R. and Barbara Robinson Family Director Carpenter Center for the Visual Arts, Harvard University
Gregory Williams, Associate Professor of Contemporary Art History, Boston University

11:30 – 12:30PM Lunch

12:30 – 12:35PM Introduction by Nathan Felde, Chair, Northeastern Art + Design Dept

12:35 – 1:45PM Markers of Influence
Within the historiography of Black Mountain College itself, BMC’s own identity formation has rooted in ideas of artistic influence and legacies of experimentation. While the College had a formidable faculty, some of its most well known associates taught only briefly, or not at all. Many of its students, like any art school, did not necessarily go on to careers as professional artists. What are the stakes of the networks established at a school with a transitory population of students and faculty? How do we conceive of influence? What does it look like beyond an institutional model and what is its relationship to the alternative histories of modernism being written today?

Michael Lobel, Professor of Art History, State University of New York, Purchase
Amanda Reeser Lawrence, Assistant Professor of Architectural History, Northeastern University
Renée Green, Artist and Professor Art, Culture, Technology Program, MIT
Carrie Lambert-Beatty, Associate Professor of Art History, Harvard University

1:45- 3:00 PM Comparative Pedagogies and Utopia
Teaching and learning are inherently social processes, offering communal possibilities for a contribution greater than the individual. As an intentional community, Black Mountain was a powerful arbiter of social transformation and foment.  Its persistence as a utopian model has circulated through the writings, tellings and histories produced by various participants of the College. Yet part of its success was dependent upon a receptive, nostalgic and like-minded cultural milieu. What were the aftereffects of other educational communities both before and after, such as Pond Farm or Stony Point, and how does Black Mountain’s promise of utopia measure against other models of lived experience?

Anna Craycroft, Artist
Eva Diaz, Assistant Professor, Art History, Pratt Institute
Ezra Shales, Professor of Design History, Massachusetts College of Art and Design
Jenni Sorkin, Assistant Professor, History of Art and Architecture, UCSB


Fenway Center

77 St. Stephens St.
Boston, MA 02115

Dr. Gloria Sutton

Assistant Professor of Contemporary Art History and New Media at Northeastern University

Gloria Sutton is Assistant Professor of Contemporary Art History and New Media at Northeastern University in Boston. She received her PhD from the University of California Los Angeles and was a fellow at the Whitney Museum of American Art Independent Study Program and the Getty Research Institute. Gloria’s teaching and research focus on time-based media practices and a critical history of technological experiments within visual art. 

Dr. Sutton has contributed to Afterimage, Art Bulletin, Art in America, and, and has published numerous exhibition catalogue essays on artists including Kirsten Everberg (Pomona College Museum of Art, 2013), Renée Green (Musée Cantonal des Beaux-Arts, Lausanne, 2009), Karl Haendel (Museum of Contemporary Art Los Angeles, 2006), Carsten Höller (New Museum, 2011), Laura Owens (Kunsthalle Zurich, 2006), Kerry Tribe (American Academy Berlin, 2006), as well as Ice Cream: Contemporary Art in Culture (Phaidon, 2007) and Vitamin Ph, New Perspectives in Photography (Phaidon, 2006).

She has also curated exhibitions at the Museum of Contemporary Art and the MAK Center for Art and Architecture in Los Angeles and Ars Electronica in Linz, Austria and has been invited to lecture at the New Museum in New York, MIT’s Program in Art Culture and Technology, Carleton College in Minnesota, San Francisco Art Institute, Contemporary Art Museum Houston, and Institut National d’Histoire de l’Art (INHA) in Paris.

Anne Ellegood

Senior Curator, Hammer Museum

Anne Ellegood is the Senior Curator at the Hammer Museum. Prior to joining the Hammer in 2009, Ellegood was Curator of Contemporary Art at the Hirshhorn Museum & Sculpture Garden in Washington D.C., since 2005. Previously, she was the New York-based Curator for Peter Norton’s collection. From 1998-2003, she was the Associate Curator at the New Museum of Contemporary Art in New York. Group exhibitions include Take It or Leave It: Institution, Image, Ideology (2014), which explored the overlapping strategies of appropriation and institutional critique in American Art; Made in LA 2012, the Hammer’s inaugural biennial of LA-based artists; and All of this and nothing (2011); and The Uncertainty of Objects and Ideas: Recent Sculpture (2006). She recently organized an exhibition of new works by Charles Gaines and has curated numerous Hammer Projects, including those with Eric Baudelaire, Shannon Ebner, My Barbarian, Pedro Reyes, Francis Upritchard, Sara VanDerBeek, and Lily van der Stokker. Ellegood is currently working on exhibitions of the work of Kevin Beasley and John Outterbridge and the first North American retrospective of the work of Jimmie Durham, scheduled to open at the Hammer in 2017.

Dr. Michael Lobel

Professor, Art History, and Director of the MA Program in Modern and Contemporary Art, Criticism and Theory, Purchase College, State University of New York

Michael Lobel is Professor of Art History and Director of the MA Program in Modern and Contemporary Art, Criticism and Theory at Purchase College, State University of New York. His publications include three books: Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art (2002); James Rosenquist: Pop Art, Politics and History in the 1960s (2009); and John Sloan: Drawing on Illustration (2014). He has written numerous exhibition catalog essays and articles for such publications as Art Journal, Artforum, Art in America, Parkett, and Art Bulletin, and he is the recipient of fellowships from the Getty Research Institute, the Smithsonian American Art Museum, the Henry Luce Foundation/American Council of Learned Societies, and the Terra Foundation for American Art.

Dr. Ezra Shales

Associate Professor, Massachusetts College of Art and Design

Ezra Shales, Ph.D., Professor, History of Art department, Massachusetts College of Art and Design, is a scholar whose research focuses on the productive confusion that lies at the intersection of design, craft, and art. His book, Made in Newark (Rutgers University Press, 2010), explores craft as an anchor of regional identity in Progressive-era New Jersey. He received his Ph.D. from the Bard Graduate Center and his M.F.A. from Hunter College and has worked with visual culture from multiple perspectives, having exhibited his own work at the Brooklyn Museum, P.S. 1, Art in General, and Artists Space. Shales  is active as a curator and organized “Pathmakers: Women in Art, Craft, and Design, Midcentury and Today” for the Museum of Arts and Design in New York City (open April-September 2015), and “O Pioneers! Women Ceramic Artists, 1925-1960” for Alfred University’s museum of ceramic art (September-December 2015).

Dr. Jenni Sorkin

Assistant Professor of Art History, UC Santa Barbara

Jenni Sorkin is Assistant Professor of contemporary art history at the University of California, Santa Barbara. Her work examines the confluence of gender and material culture within modern and contemporary art history, theory and criticism. Her writing has appeared in the New Art Examiner, Art Journal, Art Monthly, NU: The Nordic Art Review, Frieze, The Journal of Modern Craft, Modern Painters, and Third Text. She has written numerous in-depth catalog essays on feminist art and material culture topics. Her book, Live Form: Women, Ceramics and Community, which examines the legacy of Black Mountain College in part, will be published by University of Chicago Press in 2016. She holds a PhD in the History of Art from Yale University, and is currently an American Council of Learned Societies Fellow for 2014-2015.

Sara VanDerBeek

Artist, New York City

Sara VanDerBeek lives and works in New York. Recent projects include solo exhibitions at the Baltimore Museum of Art and the Museum Boijmans van Beuningen, Rotterdam, NL.She has had solo exhibitions at the Hammer Museum, Los Angeles, the Whitney Museum of American Art, Metro Pictures, New York, Fondazione Memmo, Rome, Altman-Siegel, San Francisco, and The Approach, London. Her work has also been included in various group exhibitions including; Amazement Park: Stan, Sara and Johannes VanDerBeek at the Tang Museum, Saratoga Springs, New York, and Knights Move: Sculpture Center, NY, as well as The Museum of Modern Art’s annual exhibition, New Photography in 2009. Upcoming projects include participation in Photo Poetics, a group exhibition organized by Jennifer Blessing at the Guggenheim, NY.   

Ruth Erickson

Assistant Curator, Institute of Contemporary Art/Boston

Ruth Erickson is assistant curator at the ICA/Boston, where she served as research fellow for “Leap Before You Look” from 2012-2014. She received her Ph.D. in Art History from the University of Pennsylvania in 2014.

Photo by: Christopher Hoodlet

Bree Edwards

Director, Northeastern Center for the Arts

Bree Edwards is director of the Northeastern Center for the Arts, in Boston, MA. Her career in the curation, production and administration of contemporary art has included positions at the Asheville Art Museum (NC) and the Cynthia Woods Mitchell Center for the Arts at the University of Houston (TX). From 2003-2004, she was Curatorial Fellow at DeAppel Centre for Contemporary Art, in Amsterdam, The Netherlands. She is currently a Susan Vogt Fellow with the Boston Consortium and a member of the Northeastern Public Art Initiative.

Bree holds a B.A. from Goddard College (VT) and is a graduate of Bard College’s Center for Curatorial Studies (NY) with an M.A. in Curatorial Studies of Contemporary Art. She previously served on advisory boards of the Aurora Picture Show, Western Carolina Media Arts Alliance, the Public Art Committee of the Buffalo Bayou Partnership, and Blaffer Art Museum. She also served on numerous grant and award panels for organizations including Houston Cinema Arts and the Houston Arts Alliance’s Civic Art + Design committee.

Amanda Reeser Lawrence

Assistant Professor, Architecture, Northeastern College of Arts, Media and Design

Amanda Reeser Lawrence holds a Ph.D. in architectural history and theory from Harvard’s Graduate School of Design. She is an assistant professor at the School of Architecture at Northeastern University. Her book James Stirling: Revisionary Modernist (Yale University Press, 2013) was funded by the Graham Foundation and the Paul Mellon Center for Studies in British Art. A licensed architect, Lawrence is founding co-editor of the award-winning journal, Praxis, which was selected as Deputy Commissioner of the 2013 Architectural Biennale in Venice.

James Voorhies

John R. and Barbara Robinson Family Director of the Carpenter Center for the Visual Arts at Harvard University

James Voorhies is the John R. and Barbara Robinson Family Director of the Carpenter Center for the Visual Arts at Harvard University. He oversees a contemporary arts program dedicated to the synthesis of art, design, and education through the exhibition of existing works and production of new commissions. His writing has appeared in publications by Texte zur KunstFrieze, and Printed Matter, as well as many artist monographs and exhibition catalogues. He has curated numerous exhibitions and programs, including those with Simon Fujiwara, Fernanda Fragateiro, Ulla von Brandbenburg, Martin Beck, Claire Fontaine, and Cerith Wyn Evans. He is currently working on solo exhibitions by Lorraine O’Grady and Shahryar Nashat opening at the Carpenter Center in October 2015. Voorhies is the founder of the Bureau of Open Culture, a nonprofit curatorial and publishing initiative that (from 2007 to 2014) collaborated with museums, universities, and foundations to make projects with contemporary artists and writers. He holds a Ph.D. in modern and contemporary art history from The Ohio State University and previously taught art history and critical theory at Bennington College in Vermont.

Carol A. Stakenas

School of the Museum of Fine Arts

Carol Stakenas is a curator, organizer and educator whose work is deliberately varied to align artists’ practices with new challenges and timely contexts. She has commissioned and produced multidisciplinary public art in remarkable sites from the Brooklyn Bridge Anchorage to the Los Angeles Police Department. She has worked closely with many artists including Natalie Bookchin, H. Cassils, Fallen Fruit, Jeanne van Heeswijk, Suzanne Lacy, Steve Roden, Marjetica Potrč, Ultra-red, Denise Uyehara with James Luna and Marina Zurkow. Stakenas has also engaged scholars including Marie de Brugerolle, Jennifer Doyle, Amelia Jones, Peggy Phelan and Clay Shirky to expand and deepen contemporary art discourse. In addition to serving as the curator and member of Graduate Faculty at the School of the Museum of Fine Arts, Boston, Stakenas is curator at-large for the Social Practices Art Network (SPAN). Previously, she was Executive Director of LACE (Los Angeles Contemporary Exhibitions) and Deputy Director/Curator of Creative Time.

Eva Diaz

Assistant Professor of History of Art and Design at Pratt Institute

Eva Díaz is Assistant Professor in the History of Art and Design Department at Pratt Institute in Brooklyn. Her book The Experimenters: Chance and Design at Black Mountain College was released this year by the University of Chicago Press. The project examines how an interdisciplinary group of artists proposed new models of art practice around the concept of experimentation, and focuses on three key Black Mountain teachers in the late 1940s and early 1950s: Josef Albers, John Cage, and Buckminster Fuller. She is at work on her next book, The Fuller Effect: The Critique of Total Design in Postwar Art, about the legacy of Buckminster Fuller in postwar and contemporary art, for which she received an art writer’s grant from Creative Capital/Warhol Foundation. Her writing has appeared in magazines and journals such as The Art BulletinArtforumArt JournalArt in AmericaCabinetFriezeGrey RoomOctober, and Tate Etc., and in numerous museum exhibition catalogues.

Anna Craycroft


Mining fields like education, cinema, psychology, literature and art
history, Artist Anna Craycroft examines cultural models for fostering
individuality. Through drawings, paintings, videos, sculptures, furniture,
installations, books, workshops, or curatorial projects she works
thematically on a single thesis over a series of exhibitions.

Anna Craycroft has had solo shows at Portland Institute for Contemporary
Art Portland Oregon, the Blanton Museum of Art in Austin Texas, Tracy
Williams Ltd in NYC, Le Case del Arte in Milan Italy and Sandroni Rey in
Los Angeles. Most recently she was part of a two-person exhibition at
Redcat Gallery in Los Angeles, California and Fundacio Miro, Barcelona.
Notable group exhibitions that included her work are “Champs Elysees” at
Palais de Tokyo Paris, France, and PS1’s “Greater New York 2005″.

She has collaborated on performances and installations with numerous
artists including Ohad Meromi, Ian Cooper, Felicia Ballos and Alex
Waterman. Within some of her solo exhibitions, Craycroft has organized
event series, inviting artists such as Matt Keegan, Jill Magid, Lucy
Raven, AL Steiner, Pablo Bronstein, Marc Handelman, Tara Matiek, Jessica
Dickenson, Nick Hallett, and Lisi Raskin to share their work.

Craycroft has also received commissions for public sculpture from Art in
General, Socrates Sculpture Park NYC, Lower Manhattan Cultural Center NYC,
and from Den Haag Sculptuur, the Hague Netherlands.

Gregory H. Williams

Associate Professor of Contemporary and Modern Art History at Boston University

Gregory H. Williams is associate professor of contemporary and modern art history at Boston University. He has written art criticism for periodicals, including Artforum, frieze, Art Journal, Parkett, and Texte zur Kunst, and has published essays on Martin Kippenberger, Imi Knoebel, Rosemarie Trockel, Cosima von Bonin, and Franz Erhard Walther. His book, Permission to Laugh: Humor and Politics in Contemporary German Art, was published by the University of Chicago Press in 2012.

Nathan Felde

Chair, Professor - Design

Nathan Felde is Professor and Chair of the Art + Design Department in the College of Arts, Media and Design at Northeastern University. He holds a Master of Science from MIT’s Department of Architecture, was a founder of Lightspeed Computers and Executive Director of broadband media research laboratories for NYNEX (now Verizon). His design work is in the collections of the Museum of Modern Art, the Smithsonian, Cooper-Hewitt National Design Museum and the Musée de la Arte Decoratif in Paris and has received recognition from the American Academy in Rome, AIGA, International Union of Concerned Scientists, NEA and the Aspen International Design Festival. His projects include work for Bitstream, Fujitsu, Mercedes Benz, Samsung, Harvard School of Business and Orange Labs. Nathan trained and performed for many years as a classical violist, is a Colonel in the Commonwealth of Kentucky, has sailed across the Atlantic and works with semper fiber to promote creativity and innovation amongst young people in devastated regions of the world.

Elizabeth Hudson

Professor and Dean, College of Arts, Media, and Design

Elizabeth joined Northeastern University as Dean of the College of Arts, Media, and Design and Professor of Music in July 2015. A leader and an accomplished scholar, Elizabeth came to Northeastern from the New Zealand School of Music, Victoria University of Wellington, where she was a professor of musicology.

Elizabeth was the inaugural director of the New Zealand School of Music from 2006 to 2013, overseeing a number of successful initiatives to advance the school’s academic and research programs and international profile.  She crafted a vision for the school, providing rigorous musical and academic leadership across disciplines, fostering new modes of interaction between music and other disciplines, and recruiting outstanding faculty from across the globe.

During her seven-year tenure as director, Elizabeth’s accomplishments included overhauling the curriculum to enhance professional training, improving the research-teaching nexus, and increasing cross-disciplinary collaboration.  She facilitated the creation of a joint PhD program between music and Engineering, and her leadership established the preeminence of the NZSM’s research faculty in the 2012 national research quality evaluation. On the operational side, she successfully managed the merger of two very different music institutions—Massey’s Conservatorium of Music and Victoria’s School of Music—while also implementing sound financial management and creating a new leadership structure within the school.

Prior to her tenure at the New Zealand School of Music, Elizabeth held both faculty and administrative leadership positions at the University of Virginia, where she worked to forge relationships across a range of disciplines from media studies and women’s studies to engineering.  As director of undergraduate programs in the McIntire Department of Music, she administered an innovative bachelor’s program that received national acclaim. As director of graduate programs, she led a Ph.D. in music that created a novel and inclusive approach to graduate training, reshaping disciplinary boundaries.  As chair of the department, she recruited outstanding faculty, increased the department’s visibility and fundraising profile, and built upon the distinctive undergraduate and graduate programs at UVA.

Throughout Elizabeth’s academic career, she has received numerous grants and fellowships, including from the National Endowment for the Humanities, the Lilly Teaching Fellowship, the University of Virginia Sesquicentennial Associate for the Centre for Advanced Studies, and the Thomas Jefferson Visiting Fellowship at Downing College, Cambridge University.

Elizabeth was founding Assistant Editor and later Associate Editor of the Cambridge Opera Journal, and is currently a member of the executive board of the American Institute of Verdi Studies and an editorial board member of Verdi Forum.  Her critical edition of Verdi’s Il corsaro (published by The University of Chicago Press) has received performances around the world, including at Covent Garden, Trieste, Parma, and Barcelona, and is widely available in a DVD video recording.  She has published in leading academic journals and presses on the operas of Verdi, Donizetti, and Puccini.  Her current work blends approaches from the fields of musicology, Italian Risorgimento history, trauma studies and recent work in the neuroscience of music and emotion to propose a new understanding of Verdi’s middle period operas.

Elizabeth studied piano at the Manhattan School of Music and in Vienna, and later received her bachelor’s degree from Smith College and her master’s degree and Ph.D., both in musicology, from Cornell University.  She was awarded an AMS 50 Fellowship for her dissertation on Verdi.


Renée Green

Artist, Writer, Filmmaker

Renée Green is an artist, writer, and filmmaker known for her highly layered and formally complex multimedia installations in which ideas, perception, and experience are examined from myriad perspectives. Via films, essays and writings, installations, digital media, architecture, sound-related works, film series and events her work engages with investigations into circuits of relation and exchange over time, the gaps and shifts in what survives in public and private memories as well as what has been imagined and invented.

Green exhibitions, videos and films have been seen throughout the world in museums and art institutions, among them the MAK Center for Art + Architecture at the Schindler House, West Hollywood; Museum of Modern Art, New York; Musée cantonal des Beaux Arts, Lausanne; Yerba Buena Center for the Arts, San Francisco; the National Maritime Museum, Greenwich; Portikus, Frankfurt; Centro Cultural de Bélem, Lisbon; Fundació Antoni Tàpies, Barcelona; Contemporary Arts Center, Cincinnati; Vienna Secession; Stichting de Appel, Amsterdam; Museum of Contemporary Art, Los Angeles, Museum Ludwig, Cologne; MACBA, Barcelona; Centre Georges Pompidou, Paris; Institute of Contemporary Art, London; Museum of Contemporary Art, Chicago; UCLA Hammer Museum, Los Angeles; International Center of Photography, New York & Louisiana Museum of Art, Copenhagen.

Her most recent books include Other Planes of There: Selected Writings (2014, Duke University Press, Durham), Endless Dreams and Time-Based Streams (2010, Yerba Buena Center for the Arts, San Francisco), and Ongoing Becomings (2009, Musée cantonal des Beaux-Arts, Lausanne). She is also the editor of the collection of essays Negotiations in the Contact Zone (2003, Assírio & Alvim, Lisbon) and a Professor at the MIT Program in Art, Culture and Technology, School of Architecture & Planning.

Pennie Taylor

Lecturer, Northeastern University

Pennie is a lecturer for Northeastern University¹s Art + Design
department. She has developed digital resources, interactive installations, and programs at museums including the ICA/Boston, and the Rose Art Museum. She explores the natural world, collections, play and display through her platform Home Nature Museum, and is a 2015 Somerville Arts Council Fellow. Pennie holds an MA in Cultural Production from Brandeis University, and a BA in Anthropology from Bates College.