https://lvm.cargo.site LVM Thu, 10 Nov 2022 20:56:16 +0000 https://lvm.cargo.site en https://lvm.cargo.site/Front-page Tue, 08 Nov 2022 19:50:50 +0000 LVM https://lvm.cargo.site/Front-page Current Writing&nbsp; <img width="748" height="1074" width_o="748" height_o="1074" data-src="https://freight.cargo.site/t/original/i/033cf66a9ddd2a784ec6b0a9a948436eee81bb8a831bcc836be6731c08220262/Screen-Shot-2023-07-20-at-12.02.08-PM.png" data-mid="185623843" border="0" src="https://freight.cargo.site/w/748/i/033cf66a9ddd2a784ec6b0a9a948436eee81bb8a831bcc836be6731c08220262/Screen-Shot-2023-07-20-at-12.02.08-PM.png" /> Tania El Khoury’s Live Art: Collaborative Knowledge Production&nbsp;is the first monographic, interdisciplinary reader to explore contemporary new media and performance/live art from the South West Asian/ North African (S.W.A.N.A.) region, published by Amherst College Press. The book explores and accounts for the various ways in which her practice exists at and tests borders, whether artistic, academic, or geopolitical. El Khoury identifies as a Lebanese-British artist, who makes “Live Art,” a genre at the intersection of performance, new media, and interactive (social/relational) practices. Her individual practice is always collaborative, often with individuals displaced as migrants or refugees, and activists and revolutionaries from the South West Asian/ North African (S.W.A.N.A.) region. She relates their lived experiences at and across international borders to facilitate critical dialogue about the politics of S.W.A.N.A. and the impact of globalization. Co-edited by Laurel V. McLaughlin and Carrie Robbins, this volume of essays, or monographic reader, examines her artwork through interdisciplinary perspectives. To delimit its scope in some way, the book uses a single survey exhibition of her works as its framing device and centers on the works included there: Stories of Refuge (2013); Gardens Speak (2014); Camp Pause, 2016; As Far As My Fingertips Take Me (2016); and Tell Me What I Can Do (2018), all of which test the boundaries of aesthetic, political, and everyday norms. This reader restages and broadens the interdisciplinary applicability of El Khoury’s work, inviting scholars, curators, festival organizers, and artists across the disciplines of art history, theater, dance, social work, political science, anthropology, archaeology, museum and archival studies, sociology, and creative writing to contribute essays that activate the complexities of the work. Authors: Samer Abboud, Ron Berry, Jennie Bradbury, Sue Breakell, David Byers, Kate Craddock, Sascha Crasnow, Beth Derderian, Tania El Khoury, Anan Fareed, Anna Gallagher-Ross, Kinana Issa, Lisa Kraus, Olivia Lamont-Bishop, Gideon Lester, Laurel V. McLaughlin, Carrie Robbins, Abir Saksouk, and Talia Shiroma. <img width="1108" height="1352" width_o="1108" height_o="1352" data-src="https://freight.cargo.site/t/original/i/fbe25ff47342039ba6c6338b9396069ad51ed761a9232bc07a029d5fd7adb750/Screen-Shot-2024-03-23-at-10.39.25-AM.png" data-mid="207403304" border="0" src="https://freight.cargo.site/w/1000/i/fbe25ff47342039ba6c6338b9396069ad51ed761a9232bc07a029d5fd7adb750/Screen-Shot-2024-03-23-at-10.39.25-AM.png" /> <img width="1996" height="700" width_o="1996" height_o="700" data-src="https://freight.cargo.site/t/original/i/254ae11ca3d3a8f7711c3580c9a00e7ee499519aa30c8dc9d16732470427ca66/Screen-Shot-2024-02-03-at-5.20.35-PM.png" data-mid="203799632" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/254ae11ca3d3a8f7711c3580c9a00e7ee499519aa30c8dc9d16732470427ca66/Screen-Shot-2024-02-03-at-5.20.35-PM.png" /> Laurel V. McLaughlin and Mia Habib, “ALL—A Physical Poem of Protest: A Real-Time Negotiation among Strangers,” Bare Bodies—Thresholding Life. Edited by Mariella Griel. Berlin: De Gruyter, 2024. Bare Bodies—Thresholding Life is dedicated to the theme of bodies – in transition, on thresholds, and at the edges of life. They are discussed in terms of their artistic, political, and existential dimensions. The focus of this artistic-philosophical consideration of the intersection of performance practices and life practices is on processes of emergence, survival, and decay, tracing the emergence of bio- and necropolitics. The book examines performative (life) cycles and their temporal dimension, emphasizing the moment of dwelling at a threshold or transition, thus spinning a relational textual web. Current Curatorial Projects <img width="4785" height="3200" width_o="4785" height_o="3200" data-src="https://freight.cargo.site/t/original/i/7b2470369a3524a0a664c81b0a6d0d69bc771ab63b946b93b1c1e80de4cd5995/Dayal_Mira_2-edit.jpg" data-mid="225900179" border="0" src="https://freight.cargo.site/w/1000/i/7b2470369a3524a0a664c81b0a6d0d69bc771ab63b946b93b1c1e80de4cd5995/Dayal_Mira_2-edit.jpg" /> Images: Mira Dayal,&nbsp;Cat’s Cradle with Four Knots, 2023. Steel, 60 x 40 x 30 in. conjunctions at Fuller Rosen Gallery, Philadelphia,&nbsp;February 7, 2025 – March 16, 2025&nbsp;features Dayal’s steel sculptures that reinterpret everyday objects tied to writing and narrative processing, conjunctions blurs the boundaries between tools, toys, and sculptures, emphasizing how objects can shift in function and meaning. Mira Dayal’s “language objects” center on a lexicon of steel sculptures that allude to vernacular objects associated with writing, narrative, and textual processing. The functions of the malleable source objects—to gather, to write, to record, to make an image or story—are notably altered in their more rigid steel counterparts. Components are reattached, bent, doubled, solidified, scaled up, and reoriented. This formal play creates ambiguity, heightens emotional tension, and encourages associative readings.The exhibition is accompanied by a program at Ulises on Saturday, March 1 at 5 pm, “Language Object Index: Artist Book Launch and Conversation” with Shannon Mattern and Mira Dayal. <img width="1800" height="1201" width_o="1800" height_o="1201" data-src="https://freight.cargo.site/t/original/i/befc9498ab0f537589fcb4f9f501f734c9c0f958f6124159a69732db147764f9/011725_ONLINE_BCA_WS_INSTALL_MelissaBlackall_-6.jpg" data-mid="225900554" border="0" src="https://freight.cargo.site/w/1000/i/befc9498ab0f537589fcb4f9f501f734c9c0f958f6124159a69732db147764f9/011725_ONLINE_BCA_WS_INSTALL_MelissaBlackall_-6.jpg" /> <img width="1800" height="1201" width_o="1800" height_o="1201" data-src="https://freight.cargo.site/t/original/i/8d54999a2889c7ee2bda558c8cee68086382aaa8e6748ba2abeb8c85be1d8f3c/011725_ONLINE_BCA_WS_INSTALL_MelissaBlackall_-35.jpg" data-mid="225900556" border="0" src="https://freight.cargo.site/w/1000/i/8d54999a2889c7ee2bda558c8cee68086382aaa8e6748ba2abeb8c85be1d8f3c/011725_ONLINE_BCA_WS_INSTALL_MelissaBlackall_-35.jpg" /> <img width="1800" height="1201" width_o="1800" height_o="1201" data-src="https://freight.cargo.site/t/original/i/720b9ab91eea6f682362b53f19bde6cde788d2b3cd6ad3e1ffcdf08d7960f571/011725_ONLINE_BCA_WS_INSTALL_MelissaBlackall_-59.jpg" data-mid="225900563" border="0" src="https://freight.cargo.site/w/1000/i/720b9ab91eea6f682362b53f19bde6cde788d2b3cd6ad3e1ffcdf08d7960f571/011725_ONLINE_BCA_WS_INSTALL_MelissaBlackall_-59.jpg" /> Installation views, Waste Scenes, Boston Center for the Arts, January 18–March 29, 2025. Photo: Melissa Blackwell.&nbsp;Waste Scenes tells non-linear stories about trash, value, and desire in corporate culture and neoliberal capitalism through a new body of work by artists Maia Chao&nbsp;and&nbsp;Fred Schmidt-Arenales&nbsp;produced during the Recycled Artist in Residency (RAIR). Given access to the construction and demolition waste stream generated throughout the Tri-state region, Chao and Schmidt-Arenales collected items from the trash piles in a new two-channel video installation Waste Scenes (2025), accompanied by wall drawings, a print series, a movie poster designed with Kristian Henson, and a sound-based performance event in collaboration with&nbsp;Erik DeLuca&nbsp;and Mobius Artists Group members Jimena Bermejo and Sara June for the opening. The video installation Waste Scenes forms a call and response between trash and its counterpart—humans, often flipping the script between object-subject in vignettes with the Philadelphia Voices of Pride chorus, singer Dan Schwartz, and performers&nbsp;Bellisant Corcoran-Mathe&nbsp;and&nbsp;Parker Sera. The accompanying print series and wall drawings directly cite trash—real estate manuals, neurological textbooks, and puzzles featuring the “American West,” excavating corporate exploitation and empiric expansion. Collectively, Schmidt-Arenales and Chao probe processes of material decomposition—collection, breakdown, and synthesization—as methods of artistic research to dismantle twentieth-century neoliberal systems in tragicomic embodied experimentations. Waste Scenes is on view at Oregon Contemporary, December 20, 2024–March 9, 2025 and the Boston Center for the Arts, January 18–March 29, 2025.&nbsp; Current Public Engagement <img width="1802" height="854" width_o="1802" height_o="854" data-src="https://freight.cargo.site/t/original/i/a9d85ccb9dfd4198c11726360e1f9c0f0786c4fdfc35318289e139c8a583bf34/Screen-Shot-2024-03-17-at-9.02.23-AM.png" data-mid="207402850" border="0" src="https://freight.cargo.site/w/1000/i/a9d85ccb9dfd4198c11726360e1f9c0f0786c4fdfc35318289e139c8a583bf34/Screen-Shot-2024-03-17-at-9.02.23-AM.png" /> <img width="1808" height="852" width_o="1808" height_o="852" data-src="https://freight.cargo.site/t/original/i/b08dc26ff18f0c783b8e1f86afb470feb830fb02acc6955209e9941abb899b2f/Screen-Shot-2024-03-17-at-9.02.55-AM.png" data-mid="207402852" border="0" src="https://freight.cargo.site/w/1000/i/b08dc26ff18f0c783b8e1f86afb470feb830fb02acc6955209e9941abb899b2f/Screen-Shot-2024-03-17-at-9.02.55-AM.png" /> “Tania El Khoury in Conversation with Laurel V. McLaughlin,” The New Social Environment, The Brooklyn Rail, 2024 Artist Tania El Khoury joins Brooklyn Rail contributor Laurel V. McLaughlin for a conversation engaging El Khoury’s new work Cultural Exchange Rate, 2019. “The cruelest of borders are invisible to the eye and present in everyday life. The death traps set within a moving body of water and the concealed militarization of faraway border villages. Cultural Exchange Rate is an interactive live art project in which artist Tania El Khoury shares her family memoirs of life in a border village between Lebanon and Syria. One marked by war survival, valueless currency collection, brief migration to Mexico, and a river that disregards the colonial and national borders. The audience is invited to immerse their heads into one family’s secret boxes to explore sounds, images, and textures of traces of more than a century of border crossings. Cultural Exchange Rate is based on the artist’s recorded interviews with her late grandmother, oral histories collected in her village in Akkar, the discovery of lost relatives in Mexico City, and the family’s attempt to secure dual citizenship.“ https://lvm.cargo.site/About Tue, 08 Nov 2022 19:50:51 +0000 LVM https://lvm.cargo.site/About About<img width="1064" height="1448" width_o="1064" height_o="1448" data-src="https://freight.cargo.site/t/original/i/490d41b50e3f7080ed1554a55b91a1869db05ddc7c2c3dbba12d845b91e0f857/Screen-Shot-2022-11-16-at-12.19.19-PM.png" data-mid="242330003" border="0" data-scale="88" src="https://freight.cargo.site/w/1000/i/490d41b50e3f7080ed1554a55b91a1869db05ddc7c2c3dbba12d845b91e0f857/Screen-Shot-2022-11-16-at-12.19.19-PM.png" /> Photo: Sam Gehrke Laurel V. McLaughlin (she/her/hers) is a curator, art historian, writer, and educator from Philadelphia, based in New Haven, CT and Boston, MA. Her research and writing explores research-based sculpture, installation, new media, and social practice works activated by performance concerning conceptual liminalities, globalized migration, and ecological networks. McLaughlin holds a BA in English and Art History from Wake Forest University, MAs from The Courtauld Institute of Art and Bryn Mawr College, and a PhD from Bryn Mawr. She is a Curator and the Director of the Collective Futures Fund at Tufts University Art Galleries. McLaughlin’s interdisciplinary research incorporating performance studies, art history, and cultural studies, has been supported by a 2020–2021 Luce/ACLS Dissertation Fellowship in American Art, as well as a 2021–2022 Bryn Mawr College Areté Fund Grant and Dean’s Fellowship Awards. She has shared her scholarly and curatorial work in conferences ranging from Performance Studies International, Calgary; the Universities Art Association of Canada Conference, Toronto, Montreal and New London; the Berkeley Film &amp; Media Studies Graduate Conference, San Francisco; the Philadelphia Avant-Garde Studies Consortium, University of Pennsylvania, Philadelphia; the College Art Association, New York; the Midwest Art Historical Society Annual Conference, Cincinnati; and the Association of the Study of the Arts of the Present, Hong Kong and New York, among others. Her research, critical art writing, and curatorial work has appeared in Art Papers, ASAP/J, Antennae: The Journal of Nature in Visual Culture, BOMB Magazine, BIG WINDOW, Burnaway, Boston Art Review, The Brooklyn Rail, C Magazine, Contact Quarterly, Performa Magazine, Performance Research: A Journal of the Performing Arts,&nbsp;PARtake: The Journal of Performance as Research, Sculpture Magazine,&nbsp;Women &amp; Performance, Sculpture Magazine, and&nbsp;Te Magazine, alongside recent contributions to edited volumes such as&nbsp;Bare Bodies—Thresholding Life, edited by Mariella Griel (De Gruyter GmbH, 2024), and journals such as ASAP/Journal (2024) and International Journal of the Arts in Society (2024). Forthcoming writing from McLaughlin will be featured in the edited volume&nbsp;The Borders of Art, co-edited by Dina Ramadan and Sarah Rogers (Bloomsbury, 2026); Women’s Innovations in Theatre, Dance, and Performance series, Volume 1: Performers, co-edited by Wendy Arons, Melissa Blanco Borelli, and Elizabeth W. Son (Bloomsbury, Methuen Drama Series, 2026); and Arnold Kemp: tender and haunted (No Place Press and Tufts University Art Galleries, 2026). She co-edited the multidisciplinary reader, Tania El Khoury’s Live Art: Collaborative Knowledge Production, with Carrie Robbins, published by Amherst College Press in 2024. Additionally, McLaughlin has written catalog essays and exhibition texts on the work of Rami George, Ilana Harris-Babou, Carolina Caycedo, Baseera Khan, Emily Jacir, Tsedaye Makonnen, Dawit L. Petros, Emilio Rojas, and Bergman &amp; Salinas. McLaughlin has organized exhibitions and programming with artist collectives Vox Populi, FJORD, AUTOMAT, after/time, in addition to non-profit organizations, museum institutions, and collegiate galleries such as Pennsylvania Academy of the Fine Arts, Oregon Contemporary, Boston Center for the Arts, the University of Pennsylvania in collaboration with the Arthur Ross Gallery and the ICA Philadelphia, and Tufts Universtiy Art Galleries, the Center for Contemporary Art &amp; Culture, Lafayette College Art Galleries, Emerson Contemporary, and Artspace New Haven in collaboration with the Yale University Art Gallery. She organized the traveling 2021–2023 survey Emilio Rojas: tracing a wound through my body (originating at Lafayette College Art Galleries, PA, followed by venues Emerson Contemporary, MA; Usdan Gallery, Bennington College, VT; and the Southeastern Center for Contemporary Art, NC), and the symposium Magical Thinking at MASS MoCA. Her curatorial work has been supported by Terra Foundation for American Art, the Helen Frankenthaler Foundation, and the Dutch Consulate of New York, PICE Mobility Grant, Acción Cultural Española, Spain, The Sachs Program for Arts Innovation, University of Pennsylvania, Teiger Foundation, and the Andy Warhol Foundation for the Visual Arts, among others. She is currently collaborating with Tanya Gayer on a research initiative How do you throw a brick through the window... at the Tufts University Art Galleries and the John Michael Kohler Arts Center, supported by an Andy Warhol Curatorial Research Fellowship and Teiger Foundation Exhibition Grant; as well as planning a group exhibition Magical Thinking, of Systems and Beliefs and the survey Arnold J. Kemp: Not one thing. https://lvm.cargo.site/Writing Tue, 08 Nov 2022 19:50:52 +0000 LVM https://lvm.cargo.site/Writing Writing Forthcoming: “Institutions Inside Ourselves”: Lecture Performance as Crisis Crystal Gazing, as Speculative Narration on the Dead, and as Citational Infinitude,” STUDY, Edited by Julian Cheherian and D. Graham Burnett. Forthcoming 2026. “Hood as Klan, Hoodie, Mask: ‘It’s all part of the show.,’” Arnold J. Kemp: A Reader. New York, NY: No Place Press and Tufts University Art Galleries, Forthcoming 2026. Ed. Magical Thinking. Boston: Tufts University Art Galleries, Forthcoming 2026.&nbsp; with Tanya Gayer, “How do you throw a brick through the window…” How do you throw a brick through the window…. Boston and Sheboygan: Tufts University Art Galleries and John Michael Kohler Arts Center, Forthcoming 2026.“Interview with Jonathan González,” Whitney Biennial 2026 Catalog (New York: The Whitney Museum of American Art, 2026).“A Conversation with Emilio Rojas on Bordering Within and Around Institutions.” The Borders of Art: Migration, Mobility, and Artistic Practice. Co-edited by Dina A Ramadan and Sarah Rogers. Cairo: The American University in Cairo Press, Forthcoming 2026. Entries for Anne Imhof, Cannupa Hanska Luger, Isaac Julien, Kader Attia, Terry Adkins, Jason Moran, Vaginal Davis, María Magdalena Campos-Pons, Martine Syms, Rashid Johnson, Tania Bruguera, Camille Henrot, Benezit Dictionary of Artists, Edited by Valerie Cassel Oliver. Oxford, UK: Oxford University Press, Forthcoming 2025. “Migratory Pedagogies: Tania Bruguera’s Immigrant Movement International,” Women’s Innovations in Theatre, Dance, and Performance series, Volume 1: Performers. Co-edited by Wendy Arons, Melissa Blanco Borelli, and Elizabeth W. Son. New York, NY: Bloomsbury, Methuen Drama, Forthcoming March 2025. Archive: Exhibition Catalogs and Edited Volumes Ed., Nazca/Sudamericana, Chapter II, Sudamericana tiene memoria del aire (Boston, MA: NARS Foundation, 2025).&nbsp; “James Allister Sprang: Scoring the waves (as if we could, as if we might),” Rest Within the Wake (North Adams, MA: Williams College Performing Arts, 2025). “Ewan Atkinson,” Prospect.6: the future is present the harbinger is home Exhibition Catalog, eds. Miranda Lash and Ebony G. Patterson (New Orleans: Prospect, 2025). with Carrie Robbins, ed. Tania El Khoury’s Live Art: Collaborative Knowledge Production. Amherst, MA: Amherst College Press, 2024. Print and digital. with Gabriel Sacco, “Artspace’s Open Source Art Festival with the City of New Haven: A Case Study in Neighborhood Advisory Committees,” International Journal of the Arts in Society “All Ears!? How Museums Use Community Advisory Groups to Listen and Act Towards Local Relevance and Engagement.” Edited by Daniel Tucker, 2024. Print and digital. Ed. Bergman &amp; Salinas: How to Avoid Extinction.&nbsp;New Haven, CT: Artspace New Haven, 2022. Print. Ed. Contra el Bien General. New Haven, CT: Artspace New Haven, 2022. Print. Ed. Footnotes and other embedded stories. New Haven, CT: Artspace New Haven, 2022. Print. Ed. Dyschronics. New Haven, CT: Artspace New Haven, 2022. Print. with Graham Feyl and Jenn Sova, eds. DADDY.&nbsp;Portland, OR: Independent Publishing Resource Center, 2021. Print. Ed. Emilio Rojas: tracing a wound through my body. Easton, PA and Boston, MA: Lafayette College Art Galleries and Emerson Contemporary, 2022. Print and digital. (English and Spanish) Articles, Interviews, and Reviews in Peer-Reviewed Journals “Ins(c)ense: Embodied Cultural Coding in the work of Azza el Siddique and TJ Shin,” “On Breath,” Edited by Sozita Goudouna, Performance Research, Vol. 29, No. 3. 2025. Print and digital. with Jonathan González, Marguerite Hemmings, and Lauren Bakst. “djamn, jamming, jam…”: A Conversation with Lauren Bakst, Jonathan González, and Marguerite Hemmings,” ASAP/Journal, 8.3. Forthcoming 2024. Print and digital. “(Re)tracing Heridas Abiertas (to Gloria): An Exchange about a Ritual with Emilio Rojas with and Laurel V. McLaughlin.” In “Border Encounters, Performing Thresholds.” Co-edited by Cynthia Citlallin Delgado Huitrón and Yarden Stern, Women &amp; Performance: a journal of feminist theory, 30:1. August 2023. Print and digital. “Caucuses of Inhalation: Anicka Yi’s Mycological Networks.” In “Mycologies.” Edited by Giovanni Aloi.&nbsp;Antennae: The Journal of Nature in Visual Culture, Vol. 58, (August 2022): 129–143. Print and digital. “Autumn Knight: Disappointment as Pedagogy, or Eating in Costume.” In “Pedagogies of/and Performance-as-Research.”PARtake: The Journal of Performance as Research, Vol. 3, Issue 2 (2021). Digital. “Estado Vegetal, A Gesture of Imitation: An Interview with Manuela Infante.” In “Dark Ecologies.” Co-edited by Angenette Spalink and Jonah Winn-Lenetsky.&nbsp;Performance&nbsp;Research: A Journal of the Performing Arts, Vol. 25, No. 1,&nbsp; (June 2020): 30–37. Print. “Pierre Huyghe’s Untitled (Human Mask): The ‘Other’ in the ‘Open.’” In “Fade in/ Fade Out.” Edited by Giovanni Aloi. Antennae: The Journal of Nature in Visual Culture, Issue 42 (Winter 2017): 22–35. Print. Essays in Edited Volumes, Exhibition Catalogs, Journals, and Online Platforms “You Might, It’s Natural,” From Nature. Paris and New York: Whitewall, 2024. Print. “Barring Tenderness,” Rujuta Rao: BAR. New York: Parent Company and Bungee Space, 2024. with Mia Habib and Simona Koch, “ALL—a physical poem of protest: a real-time negotiation between strangers.” In Bare Bodies—Thresholding Life. Edited by Mariella Griel. Berlin: De Gruyter GmbH, 2024. Print. “Theresa Hak Kyung Cha: Migratory Alchemical Transformations.” Co-edited by Michael Guo and Coco Chen. “Song of the Nightingale.”&nbsp;te magazine, No. 2,&nbsp;(2023). Print. (English and Mandarin) “The brushstrokes are moving in all directions, but are clearest in the grays.” Julia Rooney: Album. New York, NY: Freight+Volume, 2023. Print and digital. “Deconstructive Acts—from Connecticut to Oregon.” Variable West. November 22, 2022,&nbsp;https://variablewest.com/2022/11/22/essay-deconstructive-acts-laurel-v-mclaughlin/. “‘Such that one can be rendered again’: Emilio Rojas’s Early Performance-Films.” Emilio Rojas: tracing a wound through my body. Edited by Laurel V. McLaughlin. Easton, PA and Boston, MA: Lafayette College Art Galleries and Emerson Contemporary, 2022. Print and digital. “Footnotes and other embedded stories,” Footnotes and other embedded stories. New Haven, CT: Artspace New Haven, 2022. Print. “It’s About Time.” Dyschronics. New Haven, CT: Artspace New Haven, 2022. Print. “[Scripting].” Overlap and Outliers: Essays on Carnation Contemporary’s Exhibitions 2020–2021. Portland, OR: Carnationa Contemporary, 2022. Print. with Graham Feyl. “Sleepover-as-praxis.”&nbsp;DADDY. Portland, OR: Independent Publishing Resource Center, 2021. Print. “pax epistle: you told me not to look to etymology.” manuel arturo abreu: Saloman. Seattle: Veronica Projects Space, 2021, https://veronica-projectspace.com/manuel-arturo-abreu-salomon. “‘The sea was indistinguishable from the sky’: Observational Paintings by Mariel Capanna.” Adams and Ollman Gallery in collaboration with the Independent Art Fair, New York, September 9, 2021, https://adamsandollman.com/Laurel-McLaughlin-on-Mariel-Capanna.&nbsp; “everyday beats and hierophants.” BIG WINDOW. May 1, 2021: https://www.bigwindow.org/wordpress/wp-content/uploads/2021/02/McLaughlin_arturo-abreu_BW_essay.pdf. “Pareidolia for Relational Survival: Sculptures by Michelle Marcuse.” Philadelphia, PA: Grizzly Grizzly, 2019. Print. “As Strangers and Refugees: Olu Oguibe’s Performing Monument.” Monument Lab’s Bulletin, 26 March 2019: https://monumentlab.com/bulletin/as-strangers-and-refugees-olu-oguibes-performing-monument. Chronology. Rina Banerjee: Make Me a Summary of the World. Edited by Jodi Throckmorton. Philadelphia, PA: Pennsylvania Academy of the Fine Arts, 2018. Print. “Notes towards the imperative to SWARM.” SWARM. Philadelphia, PA: Pennsylvania Academy of the Fine Arts, 2018: https://www.pafa.org/sites/default/files/swarm-online-publication-2018-pafa.pdf.&nbsp; “Experiment in We.” Ohne Prickelnd, Sanft. Berlin: Saas-Fee Summer Institute of Art, July 2017. Print.&nbsp; “Performative Forms.” Beyond Boundaries: Feminine Forms. Edited by Carrie M. Robbins. Bryn Mawr, PA: Bryn Mawr College, 2017. Print and digital. Selected&nbsp;Interviews and Reviews “Sudamericana tiene memoria del aire: A Conversation with Constanza Alarcón Tennen,” Tussle Magazine, October 31, 2025. “In Conversation with Josiah Gagosian and Nyeema Morgan for History or Premonition at the Joan Mitchell Center, New Orleans,” Burnaway, August 23, 2025. “Holding Tina Girouard’s Archives: A Conversation with Andrea Andersson, Jordan Amirkhani, and Jade Flint,” Burnaway, January 2025. Digital. “Jonathan González: Slowing down time.” BOMB Magazine, October 2024. “Ghost of a Dream: I know of a place where they perform miracles at the Museum of Contemporary Art Arlington,” Burnaway, March 6, 2024,&nbsp;https://burnaway.org/magazine/ghost-of-a-dream-i-know-of-a-place-where-they-perform-miracles-at-the-museum-of-contemporary-art-arlington/.&nbsp; “Heather Dewey-Hagborg: Hybrid: an Interspecies Opera,” The Brooklyn Rail, November 2023, https://brooklynrail.org/2023/11/artseen/Heather-Dewey-Hagborg-Hybrid-an-Interspecies-Opera. “Water Stories: River Goddesses, Ancestral Rites, and Climate Crisis,” In “Emerge,” Boston Art Review, Issue 11, November 11, 2023. Print. “Unworded bird, don’t come near my window,” Burnaway, September 14, 2023,&nbsp;https://burnaway.org/magazine/unworded-bird-dont-come-near-my-window/. “So it appears,” Burnaway, June 16, 2023,&nbsp;https://burnaway.org/magazine/so-it-appears.&nbsp; “Silences in Death of an Artist,” C Magazine, Issue 154 “Gossip,” Spring 2023. Print and digital. “Breathwork Mapping and Peregrinations: Jean-Thomas Tremblay’s Breathing Aesthetics and Steffani Jemison’s A Rock A River A Street,” ASAP/J, March 2, 2023, https://asapjournal.com/uncanny-juxtapositions-breathwork-mapping-and-peregrinations-in-a-rock-a-river-a-street-and-breathing-aesthetics-laurel-v-mclaughlin/. “Symbionts: Contemporary Artists and the Biosphere,” Art Papers, February 3, 2023, https://www.artpapers.org/symbionts/. “Laurel V. McLaughlin with manuel arturo abreu,” BOMB Magazine, Fall 2022, Issue 161, September 2022. Print and digital. “Jayson Musson: His History of Art,” Brooklyn Rail, September 7, 2022, https://brooklynrail.org/2022/09/artseen/Jayson-Musson-His-History-of-Art. “Asynchronous: A Roundtable with Carolina Caycedo, Emily Jacir, Baseera Khan, and Tsedaye Makonnen.”Dyschronics. New Haven, CT: Artspace New Haven, 2022. Print.&nbsp; “Seed as Idea: Aeron Bergman and Alejandra Salinas.” BOMB Magazine. January 13, 2022:&nbsp;https://bombmagazine.org/articles/seed-as-idea-aeron-bergman-and-alejandra-salinas-interviewed/. &nbsp; “A vague and undetermined territory in a constant state of transition: a conversation with Emilio Rojas.”Public Parking, August 3, 2021: http://thisispublicparking.com/posts/strategies-to-enflesh-the-archive-a-conversation-with-emilio-rojas. “Rami George on the tangents, pivots, and slants of ‘artistic research,’” Art Papers, April 14, 2021:&nbsp;https://www.artpapers.org/rami-george-the-tangents-pivots-and-slants-of-artistic-research/. &nbsp; “Searching for A More Perfect Union: Tannaz Farsi at HOLDING Contemporary,” Variable West, December 17, 2020:&nbsp;https://variablewest.com/2020/12/17/review-tannaz-farsi-holding-contemporary/.&nbsp; “We Got Each Other’s Back: An Interview with Carlos Motta.” this is tomorrow, December 15, 2020:&nbsp;http://thisistomorrow.info/articles/interview-with-carlos-motta-we-got-each-others-back. “‘Critical Plagiarism’ as Discursive Labour: A Conversation with Leah Modigliani.” Platform:&nbsp;Journal of Theatre and Performing Arts 14, Vol. 1 &amp; 2, “Theatres of Labour.” Co-edited by Meg Cunningham and Clio Unger (Autumn 2020): 162–174. Print and digital.&nbsp; “Fusebox Festival 2020: ‘Living Roots’ in the Virtual.” in “Living and Working.” Art Papers, 44.1, August 2020: 59–62. Print. “Gray Areas: An Interview with Allie Hankins.” Contact Quarterly, Unbound, 17 August 2020: https://contactquarterly.com/cq/unbound/view/gray-areas. “I is for Institute: Interview with Andra Silapētere of Latvian Center for Contemporary Art.” Institute of Contemporary Art, Philadelphia’s I is for Institute, 19 July 2019:&nbsp;https://iisforinstitute.icaphila.org/posts/conversation-with-andra-silapetre-lcca. “I is for Institute: Interview with Yates Norton of Rupert.” Institute of Contemporary Art, Philadelphia’s&nbsp;I is for Institute, 22 July 2019: https://iisforinstitute.icaphila.org/posts/conversation-with-yates-norton-rupert. “I is for Institute: Interview with Marten Esko of the Contemporary Art Museum of Estonia.”&nbsp;I is for Institute. Institute of Contemporary Art, Philadelphia’s I is for Institute, 20 April 2020: https://iisforinstitute.icaphila.org/posts/conversation-with-marten-esko-contemporary-art-museum-of-estonia-ekkm. “Multiple Entry Points to Dis-ease: A Conversation with Amiko Li.” this is tomorrow, 23 April 2020:&nbsp;http://thisistomorrow.info/articles/multiple-entry-points-to-dis-ease-a-conversation-with-amiko-li. &nbsp; “I is for Institute: Interview with Lauren Dickens of San José Museum of Art.” Institute of Contemporary Art, Philadelphia’s I is for Institute, 16 May 2019: https://iisforinstitute.icaphila.org/posts/conversation-with-lauren-schell-dickens-san-jose-museum-of-art. “I is for Institute: Interview with Hanne Maagus of Kunsthall Stavanger, Alex Klein, Tausif Noor, and Laurel McLaughlin.” Institute of Contemporary Art, Philadelphia’s I is for Institute, 11 January 2019: https://iisforinstitute.icaphila.org/posts/conversation-with-hanne-mugaas-kunsthall-stavanger. “I is for Institute: Interview with Samuel Leuenberger of SALTS, Alex Klein, Tausif Noor, Laurel McLaughlin.” Institute of Contemporary Art, Philadelphia’s I is for Institute, 4 March 2019: https://iisforinstitute.icaphila.org/posts/conversation-with-samuel-leuenberger-salts. “Agniezska Polska: Love Bite.” this is tomorrow, 17 March 2020:&nbsp;http://thisistomorrow.info/articles/agnieszka-polska-love-bite. &nbsp; “A seemingly simple gesture: Pamela Valfer in Conversation with Laurel V. McLaughlin.”&nbsp; Monument Lab’s Bulletin, 14 March 2020: https://www.monumentlab.com/bulletin/a-seemingly-simple-gesture. “Review: Being Present: Revisiting, Somewhat Unfaithfully, Portland’s Most Experimental Art Experiment, PCVA.” Art Practical, 19 February 2020: https://www.artpractical.com/review/being-present-revisiting-somewhat-unfaithfully-portlands-most-experimental/. “Not Total: Jonathan González, manuel arturo abreu, and Rindon Johnson.” 60InchCenter, 23 December 2019: https://www.60inchcenter.com/home/nottotal. “I is for Institute: Interview with Kristan Kennedy of PICA, Laurel McLaughlin.” Institute of Contemporary Art, Philadelphia’s I is for Institute, 11 March 2019: https://iisforinstitute.icaphila.org/posts/conversation-with-kristan-kennedy-pica. “a breaking from, a breaking with, a breaking out—A Conversation with James Allister Sprang.” Art Papers, 4 December 2019: https://www.artpapers.org/james-allister-sprang-a-breaking-from-a-breaking-with-a-breaking-out/. “I is for Institute: Interview with Blake Shell of Disjecta, Laurel McLaughlin.” Institute of Contemporary Art, Philadelphia’s I is for Institute, 16 April 2019: https://iisforinstitute.icaphila.org/posts/conversation-with-blake-shell-disjecta-contemporary-art-center. “The Dope Elf at Yale Union.” Art Practical, 6 November 2019:&nbsp;https://www.artpractical.com/review/the-dope-elf-at-yale-union/. &nbsp; “I is for Institute: Interview with Luca Lo Pinto of Kunsthalle Wien, Alex Klein, Tausif Noor, and Laurel McLaughlin.” Institute of Contemporary Art, Philadelphia’s I is for Institute, 25 March 2019: https://iisforinstitute.icaphila.org/posts/conversation-with-luca-lo-pinto-kunsthalle-wien.&nbsp; “Cannupa Hanska Luger: A Frayed Knot / AFRAID NOT.” Performa Magazine, 12 September 2019:https://performa-arts.org/magazine/reports-cannupa-hanska-luger. “a situation of relations: A Conversation with Adam Linder about “The WANT.” Portland Institute for Contemporary Art Blog, 2019. “Multiple Ways to Pursue ‘Later Work’: A Conversation with Eiko Otake.” Portland Institute for Contemporary Art Blog, 2019. “When aesthetic, ethical, political, and poetic dimensions coincide. A Conversation about NEXUS 1.” Portland Institute for Contemporary Art Blog, 2019. “running, walking, standing: A Conversation with Mia Habib.” Portland Institute for Contemporary Art Blog, 2019. “In Concert: Laura Ortman with Marcus Fischer.” Portland Institute for Contemporary Art Blog, 2019. “We don’t have illusions that absurdity isn’t the ground floor: A Conversation with Miguel Gutierrez.” Portland Institute for Contemporary Art Blog, 2019.&nbsp; “Art as Tool, Riddle, Problem, Absurdity, Desire: A Conversation with Jess Perlitz.” Title Magazine, 30 May 2019: http://www.title-magazine.com/2019/05/art-as-tool-riddle-problem-absurdity-desire-a-conversation-with-jess-perlitz/. “Nick Cave, The Most Influential Living African-American Artists.” Artsy, 25 February 2019: https://www.artsy.net/article/artsy-editorial-influential-living-african-american-artists. &nbsp; with Mechella Yezernitskaya, “‘The only place we’ve ever been free is on the Florida straits’: An Interview with Nestor Armando Gil/Taller Workshop.” SWARM. Philadelphia, PA: Pennsylvania Academy of the Fine Arts, 2018: https://www.pafa.org/sites/default/files/swarm-online-publication-2018-pafa.pdf. with Mechella Yezernitskaya, “Imaginary Lands: An Interview with Didier William.” SWARM. Philadelphia, PA: Pennsylvania Academy of the Fine Arts, 2018: https://www.pafa.org/sites/default/files/swarm-online-publication-2018-pafa.pdf. with Mechella Yezernitskaya, “Righting the Imbalance: A Conversation with Linda Lee Alter.”&nbsp;Beyond Boundaries: Feminine Forms. Edited by Carrie M. Robbins. Bryn Mawr, PA: Bryn Mawr College, 2017. Print. with Mechella Yezernitskaya, “Collective Memories: A Conversation with Bill Scott.” Beyond Boundaries: Feminine Forms. Edited by Carrie M. Robbins. Bryn Mawr, PA: Bryn Mawr College, 2017. Print. “Marriage and Other Migrations: An Interview with Tanja Ostojić.” Serbia 2016: SEE Art Gates: States of Reality. Pančevo: 17th Art Biennial Pančevo, 2016. Print. (Serbian and English) “The Freedom of Moving Through Borders: An Interview with Tímea Oravecz.” Serbia 2016: SEE Art Gates: States of Reality. Pančevo: 17th Art Biennial Pančevo, 2016. Print. (Serbian and English) https://lvm.cargo.site/Curatorial-Projects Tue, 08 Nov 2022 19:50:52 +0000 LVM https://lvm.cargo.site/Curatorial-Projects Curatorial Projects&nbsp; CURRENT: How do you throw a brick through the window..., JMKAC, March 14–October 4, 2026. Magical Thinking, of Systems and Beliefs, TUAG, January 29–April 19, 2026.&nbsp; ARCHIVE:How do you throw a brick through the window..., TUAG, September 4–November 9, 2025.Sudamericana tiene memoria del aire,&nbsp;NARS Foundation, New York, October 10–November 5, 2025. Waste Scenes (featuring Fred Schmidt-Arenales and Maia Chao), Mills Gallery, Boston Center for the Arts, January 18–March 29, 2025. an archive and/or a repertoire, TUAG, January 29–April 20, 2025. Mira Dayal: conjunctions, Fuller Rosen Gallery, February 7–March 16, 2025.Waste Scenes (featuring Fred Schmidt-Arenales and Maia Chao), Oregon Contemporary, December 20, 2024–March 9, 2025. Ulises: Assembly, TUAG, August 13–November 10, 2024. Press:&nbsp;Boston Art Review, “Dear Reader, Don’t Read,” Ulises (Issue, No. 12, Spring/Summer 2024) Boston Art Review, “Exhibition: At Tufts University Art Galleries, ‘Ulises: Assembly’ Illustrates How Artists’ Books Refuse to be Defined,” Jane Freiman (9/24/25) Tufts Daily, “With Exhibition and Workshops, Bookworkers Answer ‘What Do You Do?,” Laura Ferguson (10/24/2024) Guest Critic and Essayist, Low-Residency MFA Program, MICA, 2024. in collaboration with curator Jackson Davidow, As the World Burns: Queer Photography and Nightlife in Boston at TUAG, January 24–April 21, 2024. in collaboration with co-curators Jackson Davidow and Noam Parness, Christian Walker: The Profane and the Poignant at TUAG, January 24–April 21, 2024. Magical Thinking, November 10–12, 2023, co-convened with manuel arturo abreu and Director of Public Engagement Lisa Dent, MASS MoCA, North Adams, MA. Emilio Rojas: tracing a wound through my body, May 12–August 20, 2023, supported by Maya Brooks, The Southeastern Center for Contemporary Art, Winston-Salem, NC.*^ Emilio Rojas: tracing a wound through my body, February 23–April 21, 2023, supported by Anne Thompson, Usdan Gallery, Bennington College, Bennington, VT.*^ Press: Brattleboro Reformer, “Bennington College welcomes multidisciplinary artist Emilio Rojas” (4/5/2023). [Voicings], February 11–April 15, 2023, featuring the work of Mira Dayal, Dominique Duroseau, JJJJJerome Ellis, Nikita Gale, Gordon Hall, Joseph Keckler, Matthew Keegan, Christine Sun Kim, Amiko Li, Sahra Motalebi, Artspace New Haven, CT.^ Press: New Haven Independent, “Artists Find And Lose Their Voices,” Brian Slattery (3/23/23) Ilana Harris-Babou: Revelations, September 17–December 3, 2022. Support for this exhibition came from Andy Warhol Foundation, CT Humanities, Mellon Foundation, and VIA Art Fund.*^&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Press:&nbsp;Yale Daily News, “Artspace’s New Exhibitions Set Out to Challenge the Status Quo,” Fatou M’Baye (10/13/22) New Haven Independent, Artspace Dives Below the Surface, Brian Slattery (9/22/22) Against the General Good/ Contra el Bien General, featuring the work of Bergman &amp; Salinas, September 17–December 3, 2022, Artspace New Haven, CT. Support for this exhibition came from Andy Warhol Foundation, CT Humanities, Mellon Foundation, and VIA Art Fund.*^Press: Yale Daily News, “Artspace’s New Exhibitions Set Out to Challenge the Status Quo,” Fatou M’Baye (10/13/22). New Haven Independent, Artspace Dives Below the Surface, Brian Slattery (9/22/22) Supported guest curators Michael Ipsen and Saskia Globig of Lino Kino with&nbsp;Completely Familiar, Entirely Free, July 16–September 10, 2022, featuring the work of Lani Asunción, Amira Brown, Saskia Globig &amp; Michael Ipsen, Kyuri Jeon, Micah Lat, Matt Lavine, Anna Lindemann, Shelby Meier, Fred Schmidt-Arenales, Jessica Smolinski, and Sonnie Wooden, Artspace New Haven, CT. Support for this exhibition came from Andy Warhol Foundation, CT Humanities, Mellon Foundation, and VIA Art Fund.^ <img width="2048" height="1151" width_o="2048" height_o="1151" data-src="https://freight.cargo.site/t/original/i/d02d0ace0659bd7d9f97f03f1aae1c4b5e351d13b8bc4b5f39f21602068b7c55/EC-2022-Emilio-Rojas-MAG-Web-31.jpg" data-mid="159172674" border="0" src="https://freight.cargo.site/w/1000/i/d02d0ace0659bd7d9f97f03f1aae1c4b5e351d13b8bc4b5f39f21602068b7c55/EC-2022-Emilio-Rojas-MAG-Web-31.jpg" /> Installation view,&nbsp;Emilio Rojas: tracing a wound through my body, September 21–November 6, 2022, Emerson Contemporary, Emerson College, Boston, MA. Photo: Jim Manning. Emilio Rojas: tracing a wound through my body, September 21–November 6, 2022, featuring a survey by Emilio Rojas, supported by Leonie Bradbury, Emerson Contemporary, Emerson College, Boston, MA.*^Press: The Boston Globe, “Things to do around Boston this weekend,” Cate McQuaid (9/22/22) Emilio Rojas:&nbsp;tracing a wound through my body, September 2–November 13, 2021, featuring a survey by Emilio Rojas, supported by Michiko Okaya, Néstor Armando Gil Carmona, and Rico Reyes, Richard A. and Rissa W. Grossman Gallery, Lafayette College, Easton, PA. The exhibition will travel to Emerson Contemporary, Boston in Fall 2022; Usdan Gallery, Bennington College, VT in Spring 2023; SECCA, Winston-Salem, NC in Summer 2023; and Artspace New Haven in Fall 2023.*^Press:Title Magazine, “tracing a wound through my body: Interview with Emilio Rojas,” Steph Garcia (9/21/21)The Lafayette, “‘Tracing a wound through my body’ encourages students to think critically about the US-Mexico border,” Beatriz Brait Amorosino (10/1/21) throwntogetherness, August 5–6 and 12–13, 2022,&nbsp;in collaboration with curator Jaleesa Johnston, and new media collectives Lino Kino of Philadelphia, PA and Mobile Projection Unit and Portland, OR, featuring the work of Sarah Brahim, Mel Carter, Daniel Coka, Fernanda D'Agostino, Satpreet Kahlon, Jaleesa Johnston, ariella tai, Sarah Turner, Sam Dellert, Zoe Chronis, Sim Hahaha, Bambi Haggerman, Hook + Loop, John Muse &amp; Brendamaris Rodriguez, George Shands, and Guava Rhee. Support for this exhibition was provided by grants from the Sachs Foundation for Innovation in the Arts, the Ford Family Foundation, and in-kind sponsorship from the Bok Building, Philadelphia, and NW Marine Works Building 5, Portland. Dyschronics, February 11–April 16, 2021, featuring Carolina Caycedo, Baseera Khan, Emily Jacir, Tsedaye Makonnen, and Dawit L. Petros, Artspace New Haven, CT. Support for this exhibition came from Andy Warhol Foundation, CT Humanities, Mellon Foundation, and VIA Art Fund.*^Press:Arts Paper, “At Artspace, Artists Unfix Time,” Al Larriva-Latt (2/16/22)New Haven Independent, “Artspace Steps Outside of Time,” Brian Slattery (2/17/22)Yale Daily News, “An Exhibition Against Time,” Olivia Charis (2/18/22) Footnotes and other embedded stories, April 30–June 25, 2022, featuring the Yale University Art Gallery- and Artspace-funded 2021–2022 Happy and Bob Doran CT Artists in Residence: Leonard Galmon, Ruby Gonzalez Hernandez, Allison Minto, Julia Rooney, and Joseph Smolinski, Artspace New Haven, CT. Support for this exhibition comes from Andy Warhol Foundation, CT Humanities, Mellon Foundation, the VIA Art Fund, and the Yale University Art Gallery.*^Press:&nbsp;WPKN, “Footnotes and Other Embedded Stories” (5/22) &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Arts Paper, “In ‘Footnotes,” Artists’ Research Leads to Risk-Taking,” Al Larriva-Latt (5/16/2022)&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; New Haven Independent, “Artspace Reads Under the Lines,” Brian Slattery (5/17/2022) Every Corner is Alive, July 3–August 18, 2022 with artist Simone Fischer, supported supported by Pacific Northwest College of Art Low-Residency in Visual Studies Chair and Associate Professor Aeron Bergman, featuring Visual Studies MFA students, Stashia Cabral, Elán Chardin, Laura Jean Foster, Amy Gibson, Ondrea Levey, Kelly Marshall, Lynn Stephens Massey, Devon Pardue, Jenny Wilde, and Ahuva Zaslavsky, Center for Contemporary Art &amp; Culture, Pacific Northwest College of Art, Portland, OR. DADDY, May 5–30, 2022, co-organized with Graham Feyl, featuring recent and new work by Jenn Sova, after/time collective, Portland, OR.*^Press: &nbsp;Oregon ArtsWatch, “Ties that bind: “Daddy” at after/time collective,” Hannah Krafcik (5/24/2022) <img width="1690" height="1126" width_o="1690" height_o="1126" data-src="https://freight.cargo.site/t/original/i/ddf36cb49ecb6d11b608f4798dbc188acfcfcbe78905c15f842a372d5481525d/Screen-Shot-2022-11-15-at-4.31.36-PM.png" data-mid="159160387" border="0" src="https://freight.cargo.site/w/1000/i/ddf36cb49ecb6d11b608f4798dbc188acfcfcbe78905c15f842a372d5481525d/Screen-Shot-2022-11-15-at-4.31.36-PM.png" />Installation view, Emmanuela Soria Ruiz:&nbsp;The Longest Leg, November 11, 2021–January 9, 2022, Fuller Rosen Gallery, Portland, OR. Photo: Mario Gallucci. The Longest Leg, November 11, 2021–January 9, 2022, of recent and new work by Emmanuela Soria Ruiz at Fuller Rosen Gallery, Portland, OR, and a performance, Private Speculations, featuring Emmanuela Soria Ruiz and Allie Hankins at Oregon Center for Contemporary Art, Portland, OR. The exhibition was accompanied by a programming series, and supported by a 2021 Make/Learn/Build grant from the Regional Arts and Culture Council and a 2021 Acción Cultural Española PICE Mobility Grant.^Press: Oregon ArtsWatch, “Viz Art Monthly: Exploratory work in fresh spaces,” Lindsay Costello (11/2/21)Portland Mercury, “Portland Winter is Coming. Brighten Your Days with these Vibrant Visual Art Experiences,” Ashley Gifford (10/1/21)Oregon ArtsWAtch, “Performance: Emmanuela Soria Ruiz’s ‘Private Speculations’ is a study in candor, animality, and architecture,” Amy Leona Havin (10/4/21) &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; OFFAL, November 13–December 1, 2021, featuring the work of Simone Fischer, Astoria Visual Arts, Astoria, OR.^&nbsp;Press:Oregon ArtsWatch, “Art Review: Simone Fischer at Astoria Visual Arts,” Kyle Cohlmia (11/24/21) some rites from a spring reckoning exhibition series, July 20–August 22, 2021, supported by Pacific Northwest College of Art Low-Residency in Visual Studies Chair and Associate Professor Aeron Bergman, featuring Visual Studies MFA students, Kelsey Hamilton, Ryan Kitson, Madison Queen, Wade Schuster, and Douglas Wiltshire, Center for Contemporary Art &amp; Culture, Pacific Northwest College of Art, Portland, OR.Press:Oregon ArtsWatch, “Spring and other cycles: Thesis exhibitions from PNCA’s Low-Residency Visual Studies,” Lindsay Costello (8/27/21) <img width="1342" height="884" width_o="1342" height_o="884" data-src="https://freight.cargo.site/t/original/i/4abaaa00003490b1eac28761c6bba0a19a4bb10d96b190a6266a85f417a3db09/Screen-Shot-2022-11-08-at-6.18.42-PM.png" data-mid="158423062" border="0" src="https://freight.cargo.site/w/1000/i/4abaaa00003490b1eac28761c6bba0a19a4bb10d96b190a6266a85f417a3db09/Screen-Shot-2022-11-08-at-6.18.42-PM.png" /> Installation view,&nbsp;Networks of (Be)Longing, October 16–December 6, 2020,&nbsp;Center for Contemporary Art &amp; Culture, Pacific Northwest College of Art, Portland, OR.Photo: Mario Gallucci. Networks of (Be)Longing, October 16–December 6, 2020, featuring the work of Canaries (Carolyn Lazard and Taraneh Fazeli), Rami George, Tabitha Nikolai, and Mengda Zhang, and Rami George, Center for Contemporary Art &amp; Culture, Pacific Northwest College of Art, Portland, OR.^ Rami George: and one day will tell you so many stories, September 25, 2020–May 3, 2021, Paragon Arts Gallery, Portland, OR.^Press: Oregon ArtsWatch, “VizArt Monthly: Flexible viewing options for unusual times,” Lindsay Costello (10/5/20)Art&amp;About, “Rami George in “’and one day will tell you so many stories,’” Lindsay Costello (2/9/21)Art Papers, “Rami George: The Tangents, Pivots, and Slants of Artistic Research,” Laurel V. McLaughlin (4/21/21) out of actions, April 6, 2019, co-organized with Isabelle Lynch of The Incubation Series, University of Pennsylvania, featuring the work of Jane Fentress, Austin Fisher, Evan Curtis Charles Hall, Zach Hill, Valentina Soto, Danielle Kovalski-Monsonego, Jessi Ali Lin, Rebecca Naegele, Fred Schmidt-Arenales, and Emmanuela Soria Ruiz in collaboration with Arthur Ross Gallery, Institute of Contemporary Art, Philadelphia and The University of Pennsylvania Museum of Archaeology and Anthropology. <img width="1348" height="898" width_o="1348" height_o="898" data-src="https://freight.cargo.site/t/original/i/fbb871a75ccd6ce6edebf991d7f80240905d69ecec52eb25a7a5636a640949ce/Screen-Shot-2022-11-08-at-6.18.29-PM.png" data-mid="158423038" border="0" src="https://freight.cargo.site/w/1000/i/fbb871a75ccd6ce6edebf991d7f80240905d69ecec52eb25a7a5636a640949ce/Screen-Shot-2022-11-08-at-6.18.29-PM.png" /> Installation view, SWARM.,&nbsp;June 28–September 9, 2018, Pennsylvania Academy of the Fine Arts, Philadelphia, PA. Photo: PAFA/Barbara Katus. SWARM., June 28–September 9, 2018, co-organized with Mechella Yezernitskaya, featuring the work of Didier William and Néstor Armando Gil/Taller Workshop, Pennsylvania Academy of the Fine Arts, Philadelphia, PA.*^Press:Broad Street Review, “SWARM. at PAFA says there’s only one way to overcome colonial narratives,” Helen Walsh (6/25/18)Artblog, “SWARM. a suffocating history at Pennsylvania Academy of the Fine Arts,” Jessica Rizzo (7/8/18)KYW Newsradio, “’SWARM.’ presents the work of Didier William and Nestor Armando Gil” (8/10/18)The Philadelphia Tribune, “PAFA exhibit showcases 2 artists with Caribbean roots,” Bobbi Booker (7/14/18) WHYY, “Art of the Caribbean diaspora come together at PAFA,” Peter Crimmins (7/6/18)The Philadelphia Inquirer, “At PAFA, Two Wildly Different Shows Get to the Heart of How Art Works its Magic,” Thomas Hine (8/2/18)The Haitian Times, “Haitian and Cuban Artists Share America’s Immigrant Story w/ New Exhibition, SWARM.,” Kai Coe (8/7/18) &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;Time Out, “SWARM.,” Karen Chernick (5/8/18)Al Día, “Néstor Armando Gil: ‘Cubans alone, we are nothing. We have to act like a swarm.’,” Andrea Rodés (6/18/2018)&nbsp; Infinite Spaces: Rediscovering PAFA’s Permanent Collection, June 28–September 9, 2018, co-organized with Mechella Yezernitskaya and Natalia Ángeles Vieyra, Pennsylvania Academy of the Fine Arts, Philadelphia, PA.^ Press:The Philadelphia Inquirer, “At PAFA, Two Wildly Different Shows Get to the Heart of How Art Works its Magic,” Thomas Hine (8/2/18)Art Daily, “Pafa will feature latest additions to permanent collection in future exhibitions,” (2018)The Philadelphia Inquirer, “PAFA acquires California Press’ prints by African American artists,” Stephan Salisbury (7/5/18) Playing the Rules, March 22, 2018, co-organized with Jessica Hough of&nbsp;The Incubation Series, University of Pennsylvania, featuring the work of Danièle Dennis, Adrienne Hall, and James Allister Sprang at Vox Populi, Philadelphia, PA. Flooding, January 26–February 23, 2018, co-organized with Tamir William of The Incubation Series, University of Pennsylvania, , featuring the work of Danièle Dennis, James Allister Sprang, Monika Uchiyama, and Eric Yue at AUTOMAT Gallery, Philadelphia, PA. <img width="4800" height="3132" width_o="4800" height_o="3132" data-src="https://freight.cargo.site/t/original/i/97ce6ad7788f4e3067e6f1210f397e1b5b9a972e2da91ea85f873f7e95dcd254/BEYOND-BOUNDARIES-12.jpg" data-mid="158423415" border="0" src="https://freight.cargo.site/w/1000/i/97ce6ad7788f4e3067e6f1210f397e1b5b9a972e2da91ea85f873f7e95dcd254/BEYOND-BOUNDARIES-12.jpg" />Installation view,&nbsp;Beyond Boundaries: Feminine Forms, September 15, 2017–March 18, 2018,&nbsp;Pennsylvania Academy of the Fine Arts, Philadelphia, PA. Photo: PAFA/ Barbara Katus. Beyond Boundaries: Feminine Forms, September 15, 2017–March 18, 2018, co-organized with Mechella Yezernitskaya, supported by Carrie Robbins, featuring works from Linda Lee Alter Collection of Work by Women and the William at the Pennsylvania Academy of the Fine Arts and the Uytendale Scott Memorial Study Collection of Works by Women Artists at the Bryn Mawr College Special Collections, dual-sited at the Pennsylvania Academy of the Fine Arts, Philadelphia, PA and Bryn Mawr College, Bryn Mawr, PA.*^Press:Broad Street Review, “PAFA presents ‘Graphic Women’ and ‘Beyond Boundaries: Feminine Forms,’” Pamela J. Forsythe, December 4, 2017The Bi-College News, “Beyond Boundaries: Female Artists Reconfigure Traditional Gender Norms,” Julia Hablack (November 9, 2017)Hyperallergic, “Explore Art in Philadelphia with Hyperallergic, Saturday, October 14” (September 29, 2017)Art Daily, “The Pennsylvania Academy of the Fine Arts and Bryn Mawr College partner to exhibit art by women,” (August 15, 2017)Visit Philadelphia, “15 Major Philadelphia Art Exhibitions for Fall,” (July 26, 2017) passages, March 3–31, 2017, co-organized with Francesca Ferrari of The Incubation Series, University of Pennsylvania, featuring the work of laura carlson, Yaochi Jin, Jeremy Jirsa, and Jiwon Woo at FJORD Gallery, Philadelphia, PA.&nbsp; *Indicates accompanying publication ^ Indicates accompanying program series https://lvm.cargo.site/Public-Engagement Tue, 08 Nov 2022 19:50:52 +0000 LVM https://lvm.cargo.site/Public-Engagement <img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/945c8096f9e926e169b852f9b52703869f721d97c4c3f70403dabd06b938b6dc/e3f981fe-81e4-4c96-834f-632445753a7a.JPG" data-mid="207402795" border="0" src="https://freight.cargo.site/w/1000/i/945c8096f9e926e169b852f9b52703869f721d97c4c3f70403dabd06b938b6dc/e3f981fe-81e4-4c96-834f-632445753a7a.JPG" /> Installation view, Emilio Rojas: tracing a wound through my body, September 21–November 6, 2022, Emerson Contemporary, Emerson College, Boston, MA. Photo: Jim Manning. Public Engagement Conferences &amp; Dissertation Workshops “Horizontal Collective Activism and the Questioning of Arts Funding: Mobius, A Boston Group,” Banned in Boston: Histories of Artistic Censorship in New England, Wellesley College &amp; Historic Deerfield, 2025 “How do you throw a brick through the window…,” College Art Association, New York, NY (Co-chair with Tanya Gayer), 2025&nbsp; “Dust as Human, dust as Cosmic in Contemporary Art and the Mythopoetic,” Universities Art Association of Canada Conference, London, ON, Canada (Co-chair with Toby Lawrence), 2024 “Luxurious Lechery,” Association for the Study of the Arts of the Present, New York (Co-chair with Jonathan González), 2024 “Multidirectional Carework: Imprinting Diasporic Imaginaries in Public Space,” Strategies for Impermanent Mark-Making in Public Space, Universities Art Association of Canada Conference, Banff Centre for Arts and Creativity, Banff, CA (Panel Organizer: Kari Cwynar), 2023 with Gabriel Sacco, “Artspace’s Open Source Art Festival with the City of New Haven: A Case Study in Neighborhood Advisory Committees,” All Ears?! How Museums Use Community Advisory Groups to Listen and Act Towards Local Relevance and Engagement (Panel Organizer: Daniel Tucker), College Art Association, New York, 2023 “Migratory and Ritualized Pedagogical Dispersions of the 2010s: Tania Bruguera and Tania El Khoury,” on panel Care and Mutual Aid in Community Art Practices since 1980 (Panel Organizer: Kristen Carter), Universities Art Association of Canada Conference, University of Toronto, 2022 “On the Edge of Pedagogical Rituals from Tania Bruguera and Tania El Khoury,” on panel Looking Otherwise: Aesthetics of Viewing and Beholding, Association for the Study of the Art of the Present: Edge Play, Los Angeles 2022&nbsp;(Virtual) “Towards a Performative Migratory Aesthetics,” Visualizing Abolition Dissertation Workshop convened by Gina Dent and Rachel Nelson, University of California, Santa Cruz, 2022 “Returning to the Open Wound of the Archive with Emilio Rojas through Gloria E. Anzaldúa,” Visual Arts and the Feminist, Affective Archive: The Present and Future of the Archive in Arts-Based Research (Panel Organizers: Julia Polyck-O’Neill and Leah Modigliani), Universities Art Association of Canada Conference, Université de Montréal, 2021 (Virtual) “‘The Artist’s Path’: Theresa Hak Kyung Cha’s Performative Migratory Aesthetics,” on panel Nations, Borders, and Diasporas (Panel Organizer: John-Michael H. Warner), The Midwest Art History Society Annual Conference, 2021 (Virtual) “Networks of (Be)longing, or an Exhibited Speculation on ‘Absurd’ Social Aesthetics” and a performative reading by Mengda Zhang from Dust-Free Chatroom, 2018–present, Ad Absurdum: The Politics and Poetics of Absurdity in Avant-Garde Art and Thought, Philadelphia Avant-Garde Studies Consortium, University of Pennsylvania, 2020 “Towards a Historical ‘Performing With’ in the Early Works of Spiderwoman Theater and Urban Bush Women,” Performance Studies International 25, University of Calgary, 2019 “Theresa Hak Kyung Cha’s Barren Cave Mute: Alchemical Migrations,” Association for the Study of the Arts of the Present, Tai Kwun Centre for Arts &amp; Heritage and the University of Hong Kong, 2019 “Immersive Performativity as Relational Political Action: Fall 2018 Philadelphia Case Studies,” Social Action in Museums: Mindset and Practice&nbsp;(Panel Organizer: Casey Riley, Minneapolis Institute of Art), Midwest Art Historical Society Annual Conference, 2019 “Learning from Tania El Khoury’s ear-whispered at Bryn Mawr College,” co-presented with Carrie M. Robbins, “When Home Won’t Let You Stay”: Art and Migration in the 21st Century&nbsp;(Panel Organizers: Ruth Erickson and Ellen Tani, Institute of Contemporary Art, Boston),&nbsp;College Art Association, New York, 2019 “A Journey in Super-8: A Filmic Frame for Ana Mendieta’s Early Works,” HIGH/LOW: Taste, Quality &amp; Resolution in Film and Media, University of California, Berkeley, 2019 “Migratory Identity in Feminist Performance Art Situated in the United States, 1970–2016,” 12th Annual Graduate Student Research Symposium, Bryn Mawr College, 2018 “A Feminine Avant-Garde: Beyond Boundaries: Feminine Forms,” Apolitical My Ars!: Dissent, Resistance, and Revolution in the Avant-Garde Arts, Philadelphia Avant-Garde Studies Consortium Symposium, University of Pennsylvania, 2017 “Theresa Hak Kyung Cha’s Barren Cave Mute&nbsp;(1974): ‘Alchemical’ Self-Processes,” Matters of Sensation, Interdisciplinary Graduate Student Conference, Georgia State University, 2017 “A Cyborgian Disclosure: Marian Embodiment in Eija-Liisa Ahtila’s The Annunciation (Marian Ilmestys),” Action!: Performance, Sport, and Moving Bodies in Film and Visual Media, Film Studies Graduate Student Conference, University of Pittsburgh, 2017 “A Cyborgian Disclosure: Marian Embodiment in Eija-Liisa Ahtila’s The Annunciation (Marian Ilmestys),” 11th Annual Graduate Student Research Symposium, Bryn Mawr College, 2017 Invited Lectures, Crits, and Jury Service Guest Juror, Artadia, Chicago, 2026. Guest Juror, ICA MECA&amp;D, Faculty Biennial, January 2026. Guest Juror, Mixmaster, Mattatuck Museum, January 2026. Guest Critic, Boston University, Painting Department (Josephine Halvorson), November 2025. “Curating as Conduction, Parts 1–2,” Senior Seminar, School of Visual Studies, University of Missouri, 2024 “Tania El Khoury in Conversation with Laurel V. McLaughlin,” The New Social Environment, The Brooklyn Rail, 2024 Guest Critic, MFA Program in Studio Art, University of Missouri, 2024 Guest Critic and Essayist, Low-Residency MFA Program in Studio Art, Maryland Institute College of Art, 2024 Guest Critic and Essayist, Low-Residency MFA Program in Studio Art, Maryland Institute College of Art, 2023 “Exhibition Strategies,” MFA Seminar: Exhibitions, Portland State University, OR, 2023 “Curatorial Practices: A Navigation in Institutions,” Curating Contemporary Art, Emerson College, Boston, MA, 2022 “Curatorial Sites and Spaces,” Methods of Inquiry,&nbsp;University of Michigan, Ann Arbor, MI, 2022 “Dyschronics,” Queer Art of Failure, Western Connecticut State University, Danbury, CT, 2022 “tracing a wound through my body: A Conversation with Emilio Rojas,” Wake Forest University, Winston-Salem, NC, 2021 “Networks of (Be)longing,” Curatorial Affairs in the Arts, Lewis &amp; Clark College, Portland, OR, 2020 “Rina Banerjee: Make Me a Summary of the World,” Race, Identity, and Experience in American Art, Temple University Honors and Regular Art History Courses, Philadelphia, PA, 2018 “Beyond Boundaries: Feminine Forms, A Case Study for Rethinking Gender in the Museum,” Honors Art History Course, Rutgers University, Camden, New Jersey, 2018 “‘Feminine’ Identity and Experience in Beyond Boundaries: Feminine Forms,” Art History Department, Honors and Regular Courses, Temple University, Philadelphia, PA, 2017 Selected Public Conversations “Disability Culture Now: A Panel with Emily Watlington &amp; Jeff Kasper,” co-moderated by Laurel V. McLaughlin and Tanya Gayer, Tufts University Art Galleries, October 28, 2025. “Spiritual Technologies,” Artist conversation with nico d’entrement, Boston Center for the Arts, October 7, 2025. “Artists in Academia: artistic research as practice: A Panel with Luis Arnías, Lucy Cotter, and Lucy Kim, moderated by Laurel V. McLaughlin,” Tufts University Art Galleries (TUAG) in partnership with Artadia and Wagner Foundation, April 16, 2025 “Horizontal Pedagogies and Research-Creation: A Panel on Mobius Artists Group with Marilyn Arsem and Natalie Loveless, co-moderated by Laurel V. McLaughlin and Wenxuan Xue,” Tufts University Art Galleries, March 28, 2025 “Border Pedagogies, Queer Kinships, and Archival Resonances: Tania Bruguera and Emilio Rojas,” Moderator, Emerson Contemporary, Emerson College, November 5, 2022 “Spatial Power: A Screening on the Queer Modernist Legacy of Eileen Gray,” with artists Emmanuela Soria Ruiz and Allie Hankins, Moderator, in conjunction with The Longest Leg exhibition at Fuller Rosen Gallery and in collaboration with the Low-Res MFA in Visual Studies, Pacific Northwest College of Art of Willamette University, January 9, 2022 “Rami George ‘Video Playlist’ Screening and Q&amp;A,” in conjunction with Networks of (Be)longing, Center for Contemporary Arts &amp; Culture and the Hallie Ford School of Graduate Studies, Pacific Northwest College of Art, Portland, OR, 2020 “Juxtapositions, Transpositions, Reconfigurations: A Conversation about Rina Banerjee’s Contemporary Works Alongside Historical American Art,” PAFA Scholars Day, Conversation with Ramey Mize and Tausif Noor, Pennsylvania Academy of the Fine Arts, Philadelphia, PA, 2019 “Curatorial Conversation: Focus on the Middle East with The Metropolitan Museum of Art Assistant Curator, Clare Davies,” Bryn Mawr College, 2018 “Conversation with Dictaphone Group (Tania El Khoury and Abir Saksouk),” Co-Moderator with Professor Azade Seyhan, Bryn Mawr College, Bryn Mawr, PA, 2018 “Building Community in Diaspora: An Artist Talk with Didier William and Néstor Armando Gil,” Co-Moderator with Mechella Yezernitskaya, Pennsylvania Academy of the Fine Arts, Philadelphia, PA, 2018 “Embody the Art: A Conversation with Artist Tania El Khoury,” Co-Moderator with Carrie M. Robbins, Curator of Art &amp; Artifacts, Bryn Mawr College, Bryn Mawr, PA, 2018 “Artist Conversation: Memory and Form” with artists Danièle Dennis, Monika Uchiyama, James Allister Sprang, Eric Yue, AUTOMAT Gallery, Philadelphia, PA, in collaboration with the Incubation Series, University of Pennsylvania, Philadelphia, PA, 2018 “Artist Conversation with Tania Bruguera and PAFA Students,” Pennsylvania Academy of the Fine Arts, Philadelphia, PA, 2018 “A Conversation with Linda Lee Alter,” with co-curator, Mechella Yezernitskaya, and Linda Lee Alter, Bryn Mawr College, Bryn Mawr, PA, 2017 “An Artist’s Panel on ‘Feminine Forms,’” with Judith Brodsky, Eileen Neff, and co-curator, Mechella Yezernitskaya, Points of View Speaker Series, Pennsylvania Academy of the Fine Arts, Philadelphia, PA, 2017 “Curatorial Conversation with Jo Anna Isaak,” with co-curator Mechella Yezernitskaya, Bryn Mawr College, Bryn Mawr, PA, 2017 “How Conversations &amp; Collaborations Extend the Museum,” with co-curator Mechella Yezernitskaya and the Edna S. Tuttleman Director of the Museum, Brooke Davis Anderson, Pennsylvania Academy of the Fine Arts, Philadelphia, PA, 2017 “passages: A Conversation,” with co-curator Francesca Ferrari and Gallerist Anthony Bowers, and artists laura carlson, Yaochi Jin, Jiwon Woo, and Jeremy Jirsa, FJORD Gallery, Philadelphia, PA, in collaboration the Incubation Series, University of Pennsylvania, Philadelphia, PA, 2017 “Seeking Refuge,” with filmmaker Iva Radivojević and Meta Mazaj, Slought Foundation, Philadelphia, PA, 2016 https://lvm.cargo.site/Membership Thu, 10 Nov 2022 20:56:16 +0000 LVM https://lvm.cargo.site/Membership Membership Programs The Artist’s Human Way, Invited Virtual Workshop hosted by Prem Krishnamurthy and Kalaija Mallery, October 2020—January 2021 Saas-Fee Summer Institute of Art, Berlin, Germany, July–August, 2017 Middlebury College Summer Language Program, Middlebury, VT, July–August, 2016 Goethe Institut, Berlin, Germany, June–August, 2015 Leadership Contemporary Exhibitions Field Editor, caa.reviews, 2023–present Board Member, INCA Press, 2023–present Portland Art Focus, March 2021–2022 homebase Gallery, Portland, OR, Board of Directors, July 2020–March 2021 Title Magazine, Editor, 2019–2020 12th Biennial Bryn Mawr College Graduate Group Symposium, Planning Committee, Member, 2018–2019 The Incubation Series, University of Pennsylvania, Management Member and Curator, 2016–2019 11th Biennial Bryn Mawr College Graduate Group Symposium Planning Committee, History of Art Co-Chair, 2017–2018 Wake Forest University New York Contemporary Art Buying Trip Ambassador, 2013–2014 Affiliations The College Art Association; Association for the Study of the Arts of the Present; Performance Studies International; Midwest Art History Society; The Universities Art Association of Canada; Phi Beta Kappa Honors Society, Delta North Carolina Chapter SELECTED AWARDS AND GRANTS Tufts AS&amp;E Diversity Fund, Sculpture and Systems: Doubts &amp; Beliefs with TUAG, 2026 Barr Foundation Grant, 2025 (Collective Futures Fund) Rupert Residency Programme Awardee, Vilnius, Lithuania, 2025 Teiger Foundation, Exhibition Grant, 2025Tufts AS&amp;E Diversity Fund, How do you throw a brick through the window... programming, 2025 Tufts AS&amp;E Diversity&nbsp;Fund, Sites of Resistance: A Cross-Campus Performance Series with TUAG, 2024 Tufts AS&amp;E Diversity&nbsp;Fund, Collaborative Knowledge Production: Tania El Khoury’s Live Art, 2024 Dutch Consulate in New York, Contributing Program, 2024 Andy Warhol Foundation Multi-Year Programming Grant (Tufts University Art Galleries), 2024 Boston Mayor’s Office of LGBTQIA+ Affairs Mini Grant, 2023 Tufts University Diversity Grant, 2023 Terra Foundation for American Art Convening Grant, 2023 Andy Warhol Foundation for the Visual Arts Curatorial Research Grant, 2022 American Association of University Women Dissertation Fellowship, 2022–2023 (declined) Variable West + Stelo Arts Writing Residency, 2022 Dean’s Fellowship, Bryn Mawr College, 2021–2022 PICE Mobility Grant, Acción Cultural Española, Spain, 2021 Make/Learn/Build, Regional Arts and Culture Council, Portland, OR, 2021 Areté Funding Award, Bryn Mawr College, Summer 2021 Bryn Mawr College Graduate School of Arts and Sciences Dissertation Research Grant, 2021 The Sachs Program for Arts Innovation, University of Pennsylvania, Project Grant 2021–2022 Midwest Art History Society, Charles D. Cutter Student Travel Stipend, March 2021 The Ford Family Foundation Capital Improvement Grant for Third Room, Portland, OR Luce/ACLS Dissertation Fellowship in American Art, 2020–2021 Graduate School of Arts and Sciences, Graduate Student Fellowship, Bryn Mawr College, 2019–2020 Areté Funding Award, Bryn Mawr College, 2019 Brunilde Sismondo Ridgway Curatorial Fellowship, Bryn Mawr College, 2018–2019 Scholarship, Saas-Fee Summer Institute of Art, Berlin, Summer 2018 Mary Patterson McPherson Curatorial Fellowship, Bryn Mawr College, Summer 2017 Kathryn Davis Fellowship for Peace, German Language Program, Middlebury College, Summer 2017 Graduate School of Arts and Sciences Graduate Student Fellowship, Bryn Mawr College, 2015–2017 Presidential Scholarship for Distinguished Achievement in Voice, Wake Forest University, 2009–2013 https://lvm.cargo.site/Contact Tue, 08 Nov 2022 19:50:53 +0000 LVM https://lvm.cargo.site/Contact Contact Laurel V. McLaughlin is available for writing and independent curatorial opportunities, as well as speaking engagements and short-term residencies/visits/critiques. For inquiries, connections, and a full CV, please be in touch. lvmclaughlin7@gmail.com Instagram: @lvmclaughlin